Things we do for members and partners.
Princess Beatrix can take a punch in contemporary theatre. Just two years ago, she was in the audience (as queen) at The Life & Death of Marina Abramovic, and this year at The Crimson House by Lemi Ponifasio / MAU. Just about one of the most radical - because loud, raw and rather unfathomable - performances of this edition of the Holland Festival. We didn't quite get there, by the way, but
Is a performance opera if not a note is sung? If the audience sits on a stand in a car park with headphones on their heads? Or if a man cries out like a dog with a tongue out of his mouth throughout the performance? The definitions of opera are stretched quite a bit at five Oerol performances. Interestingly, hardly anyone calls the performance opera. By necessity, musical theatre is often used, but that term does not really fall into a warm bath.
Ivo van Hove has not only a play made based on Ayn Roland's novel of ideas The Fountainhead. In 2006, the artistic director of Toneelgroep Amsterdam even wanted to base a whole new design of the theatre system on it. Eight years later, we can see that only the negative aspects of Van Hove's vision have been realised.
When someone speaks in sentences with words that repeatedly rhyme with 'art' or in which the syllable 'art' keeps popping up, you have to adjust to a different logic than that of everyday communication. If it is also a woman dressed in bright red who pronounces those words eloquently and with many mannerisms, suggesting that she is hyper-sensitive to anything to do with art, your thoughts balance between:
In Rome, they have known what good food is for 20 centuries or so. Bloodletting is everything. Seneca, a Roman of the better sort, wrote plays in which bloodshed was elevated to an art. Audiences feasted on them, just as they feasted on Seneca's recipes in Shakespeare's time, 1,500 years later, and as we feast on Game of Thrones on TV now. It can't be gory, can't be cruel enough. We like that.
From 2007, video artist Matthew Barney (The Cremaster Cycle) and composer Jonathan Bepler on a free adaptation of Norman Mailer's most maligned book Ancient Evenings. To Mailer's mythology of ancient Egypt, they added the equally mythical American automobile industry in an ambitious and operatesque film project with a demanding length of 5 hours 11 minutes.
From February River of Fundament on world tour and the Holland Festival
After impressive retrospectives dedicated to John Cage (2012) and Edgard Varèse (2009), the Holland Festival this year put Venetian composer Luigi Nono in the spotlight. Under the title 'Trilogy of the sublime', the imposing Gashouder was the epicentre of three full-length concerts, short 'Nono interventions' sounded in the Rijksmuseum's subway, a two-day symposium was organised around Nono, and his widow Nuria set up an exhibition entitled 'Maestro di suoni i silenzi'.
In March this year the Culture Council sounded the alarm. Unique under the new leadership, which is usually extremely docile when it comes to cultural cuts. But what happens to music schools, children's drama schools, libraries and amateur orchestras is otherwise entirely up to the citizens themselves, and their local councils. This is the minister's response to the chamber.
Although both performances were created in very different ways, parallels can be drawn between 'Romeo and Juliet. To Romeo and Juliet‘ by Karina Kroft and 'Crastest Ibsen II - People's Enemy' by Sarah Moeremans / Noord Nederlands Toneel. Director Karina Kroft and actor Joep van der Geest in conversation about their relationship with a classic play and their audience.
Every Holland Festival there is at least 1 performance which a lot of people wonder why it is programmed. This year, that honour falls to 'Bestiaire d'Amour' by and starring Isabella Rosselini. We take a moment to look for answers.
Topical again, now that Toneelgroep Amsterdam is reviving the play, my review from 2014. This week, the stage adaptation of The Fountainhead premiered. The book is terrible, the performance rattles, the actors win only narrowly. The content, however, creates even more confusion, which is why I won't stop you from going to see it. And Hans Kesting, of course. I put it this way.
Visitors to the film Napoleon, last Sunday at Ziggo Dome, who had thought of booking dinner at one of the intervals, will get their money back. This was decided by the Holland Festival after a commotion arose on the internet, and beyond, about the caterer's lousy service, and the rather poor quality of what was on offer. Visitor Marc Veerkamp said the following on facebook:
To make it 450e birth anniversary of William Shakespeare (1564-1616), Krzysztof Pastor created a full-length choreography for the National Ballet, loosely based on The Tempest (1611). The performance is part of the Holland Festival. Dramaturge Willem Bruls adapted Shakespeare's last play about the island exiled prince Prospero and his daughter Miranda into a script in which the story is told four times, from as many perspectives. The result is enchanting.
78 Million euros is the turnover lost by the film and DVD industry in the Netherlands due to illegal downloading. This was recently revealed in a press release announced. Yesterday, it was also one of the topics at a discussion afternoon organised by Film Producers Netherlands (FPN) on copyright developments.
Experience is unnecessary and there is no upper age limit. At Sharon Fridman, professional dancers and amateurs dance together to create a performance on the beach. Daily guests can also learn about the dance routine.
Talent alone won't get you there. You also need a bit of luck. That luck happened to Alain Platel so often by now that you almost start to doubt your own wickedness. Still. Those who not only count a composer like Fabrizio Cassol among their friends, but who also gave singing prodigy Serge Kakudji a chance, deserve a bit of luck. What the trio has now achieved with 13 musicians from Kinshasa is downright revolutionary. And a death knell for those who believe that north and south can never really meet. I experienced it on Monday, 16 June. And it still echoes.
Nice 'old-fashioned' Holland Festival: a special set-up that confronts the audience with the implications of their own position and viewing behaviour. And that's just as well with Fassbinder's 'Die bitteren Tränen der Petra von Kant'. Melodrama was no stranger to the German theatre and film wizard. The bitter tears are of a fashion queen and her entourage, clinical is the setting, wafer-thin the story, and yet unusually exciting how this lady drama develops.
Language is music. Sometimes we forget that. Then we think language is a way of conveying objective meanings. Kind of silly. Language is food for all the senses. No strumming is needed under that. That's pure opera without embellishments. The English-language performance 'tis Pity she's a whore' I saw at the Holland Festival yesterday proves that. Even if you don't understand the seventeenth-century phrases, it is a joy to listen to.
Saturday, June 14, went off in a flood of evening gowns, dinner jackets, Dutch celebrities and Gooische Tanks War Horse premiered. A play about a war in which the Netherlands was neutral, and of which there are memorial stones in every village in the rest of the world. You can go and see it. Or not. We have listed six arguments.
In an immaculate virginal white uniform, Don Juan gives a slick press conference for his wedding to Elvira. We hear the famous words with which Bill Clinton denied the Lewinsky affair. Actor Ischa den Blanken's grin speaks volumes when he says: 'These allegations are false.' We know: he is lying.
After co-organising FATFORM, a radical series of art events in Amsterdam Southeast - with furious crossover exhibitions and performances on the roofs of an abandoned shopping centre and a car park, the collective around creative production agency Vinger.nl has thrown itself into the new edition of the Open Art Route 2014. And it will be something.
One of the rules of thumb of contemporary theatre art reads as follows: There is no middle ground in a production with an insanely long title. Such a production is either fantastic or dies of its own pretensions. At Judson church is ringing in Harlem (made to measure) / twenty looks of paris is burning at the judson church (m2m) is the latter.
"You know ma'am, that big red painting? Turn right before that". A young attendant shows us the way. At first glance, it's nothing. A man in semi-uniform, black trousers, white shirt, slowly turns on his axis. Sol Lewitt's mural, number 1084 from 2003, lends him the necessary decorum. Around the corner hang Barnett Newman and Andy Warhol. Would the man care? In this 'hall of fame' of conceptual art, the man's spinning stands out a little timidly. Some visitors remain standing, leaning against white walls or sinking down on the polished wooden floor. Those who take their time watch the spinning of the man and his fellow dervishes slowly take possession of the Stedelijk.
This year's trip will go to India and Nepal. Because that seemed nice to him. Visitors to the Dutch premiere of Jelinek's Die Schutzbefohlene were looking forward to the summer. Next year they would visit a friend in Vietnam. Little hassle to get a visa. As a white European, the whole world is yours. You can go anywhere. The man did not realise how privileged he was.
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