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Je kunt meerdere redenen bedenken om MIRROR MIRROR van Conny Janssen Danst in de RDM Onderzeebootloods te gaan zien. Maar er is er vooral een. Conny Janssen Danst is met MIRROR MIRROR terug in een voormalige onderzeebootloods in Rotterdam. Die loods ligt aan het water vlakbij de Rotterdamse Academie van Bouwkunst én een Innovatielab. Een industriële setting die ook terugkeert…
De Amerikaanse componist Julia Wolfe (1958) heeft wat met de sociale geschiedenis van haar vaderland. Steel Hammer reflecteert op de ongelijke strijd van mens versus machine, zoals beschreven in de volksballade John Henry. Anthracite Fields zoomt in op het zware leven van mijnwerkers in Pennsylvania. Ze won er in 2015 een Pulitzer Prize mee. Het avondvullende oratorium beleeft twee juli…
The plofnies came totally unexpectedly. The family father behind me, out with wife and presumably reluctant adolescent son, burst out after about 10 minutes into the performance. Just when a deafening silence had descended over the sold-out Theatre Carré. At least four people, including myself, were shocked to the core. A sneeze had never been this loud before, but as quiet as during...
De kijker een stem geven in de wendingen die een filmverhaal neemt. Het is een droom die lastig blijkt te realiseren. Maar nu is er de interactieve bioscoopfilm Late Shift. Een film of een spel?
Op woensdag 21 juni worden de Zilveren Griffels, Zilveren Penselen en Paletten en de Vlag en Wimpels uitgereikt – de opmaat voor de de uitreiking van Het Gouden Penseel en Het Gulden Palet in september en de Gouden Griffel in oktober. Interview met de Gouden Griffel-winnares van vorig jaar, Anna Woltz, over schrijven, volwassen worden en de Griffels natuurlijk. Door Tijmen…
The opening image of Octavia. Trepanation is an immediate hit. On either side of Lenin's lauded head is an army of Chinese terracotta warriors. - Headless. Lenin's brain suffices for all, the suggestion is. Associations with the image of Che Guevara in Reconstruction from 1969 come to mind. But where that opera conveyed its (anti-American) message with crystal clarity,...
In the Netherlands, this Thursday afternoon is sunny. Clothes stick to bodies. Hotpants everywhere. Boys take off their shirts in parks. This afternoon, Queens of the Stone Age's new single plops onto YouTube. The Way You Used to Do is sweaty and hot. Pleasure settled Queens of the Stone Age don't surprise. There's no need to. The band is grand...
Gek toch, dat zoiets gewoons als seks altijd enig rumoer veroorzaakt als het in de bioscoop in beeld komt. Hoe zit dat eigenlijk? De heikele kanten van expliciete seks in bioscoopfilms die op Cinema Erotica ontbreken.
Herodes heeft zijn kreet ‘Dood deze vrouw!’ nog niet geslaakt of zijn soldaten heffen Salome ruw op hun schouders en smijten haar in de hel. – De in een ruïne veranderde sjieke salon die via een doorkijkluik bijna de gehele opera zichtbaar was. Salome’s in bloed gedrenkte jurk lijkt even op te vlammen, maar dan valt – pats! – het…
Later, when I grow up... Lawyer Susan van 't Hullenaar (1970) always dreamed of becoming a writer. As her 12.5-year work anniversary approached, she realised: I have to take the plunge now, otherwise it won't happen. She quit her job, became her own boss as a copywriter and picked up her pen - well, the computer. 'I gave...
The doors are closing and the society of spectacle, as described by Guy Debord, remains outside. George Crumb (1929) - in focus at this year's Holland Festival - unpacks contemporary man with his Metamorphoses, Book I (which has its European premiere Friday night). Gone, then, goes the shell of the ongoing pandemonium in which a diarrhoea of word, image and sound meet...
Endless chatting at the kitchen table. While cooking. That's all they do, the brother, the sister, the ex, the two daughters-in-law and the mother of the Gabriel family. About recipes, about the old piano. About Thomas, the brother who died of parkinson's, about his wife, who due to informal care had no time to renew her doctor's degree. All very casually, without...
Rito de Primavera, on show at the Holland Festival early this week, is a group choreography for fifty young dancers. Choreographer José Vidal has loosely based himself on Sacre du printemps, Stravinsky and Nijinsky's 1913 piece for the Ballet Russes. Fragments of Stravinsky's music have been turned into 4-quarter beetz by DJ Jim Hast, while Vidal has minimised the ritual aspect of the sacrifice, essential to the many versions made throughout the 20th century (besides Nijinsky's primal version, Massine, Béjart and Bausch, among others).
What remains is an overwhelming visual experience of a gigantic mass of dancers looming out of the darkness. The coordination of the group, at times dancing wildly through each other, at other times circling the stage in long procession, is impressive. It produces a fascinating, eye-opening aesthetic, but the group dance in no way challenges the audience. You could call it a pile of kitsch, or opium for the people. Either way, it is a form of spectacle that I consider unworthy of the Holland Festival.
The performance begins like a school trip. Near the box office, spectators are prepared in groups for what is to come. They are kindly requested to take off their shoes upon entering the theatre, and then walk barefoot, hand in hand with fellow spectators, through the dark. Regularly, someone calls loudly for silence, as the performance has already started. There is also something uncomfortable about the nervous manner in which the audience, which is supposed to line up in rows after the instructions, is marched away to the performance space two buildings away.
The initiation of the visitors continues in the Purification Hall, when they pass through the pitch darkness hand in hand with the cool sand at their feet. It provides one of the few ambiguous moments during Rito de Primavera. Where is this going? What fairy tale are we being led into here? From which tourist boat have we fallen off, to now attend the rituals of which people again?
At first, the total experience that so many contemporary theme parks are looking for really takes shape. For half an hour, I stare at a stage in the dark. I see and feel a lot of people there, I think naked because sometimes there is a clever flash of soft light, but the dominant darkness prevents me from getting a grip on it. Ethereal singing composed by Andrés Abarzúa - a single chord sounds gurgling from many throats - accompanies the entrance of all the other spectators for half an hour.
The bleachers surround the playing surface. It is only the red and white bicycle lights of the guides of the many groups of spectators that give you some orientation in the space. It has something of Tintin in Takatukaland. An audience paying to be at a miraculous, never-before-seen, spring nymphing ritual.
The artificiality of the setting gives a certain tension. In the darkness, as a spectator, you can imagine all sorts of things about what is to come. But at some point, the bicycle lights go out, a sign that all spectators are seated, and the dancers all put on trousers. The light increases and the first beetz cum stravinsky supplants the singing. When, after the uncertain introitus, the actual spectacle begins, its logic becomes all too clear. A perfectly organised group choreography takes over.
In what follows, nothing is left to chance. And that is no luxury with so many dancers in semi-darkness, especially as half of them are also new to the work, because from the Modern Theatre Dance Department of the Amsterdam University of Applied Sciences. The group makes pulsating movements, dialogues with a neighbour, runs in groups, starts singing again, postures and occasionally lifts a single person in the air.
But just as the darkness gets used, so does the group. They are all very young people, fairly relaxed dancing together. The uninhibited attitude with which the complicated group choreographies are performed is touching. A naive kind of surrender or faith speaks from it.
But gradually the effects, of the group choreography, of the light that creates the photographic vistas, the repetitive singing and beetz get boring. The repetition of moves is effect-laden, rhetorical, self-affirming. Nowhere a moment of debacle, of faltering. No one who has a question, can't keep up, is mistaken
With Cinema Erotica, EYE is celebrating lust. In doing so, Jennifer Lyon Bell, maker of erotic films, presents a programme in which she connects porn and art. What fascinates her so much in this sensual genre?
A Quattro Mani’s pop-uprecente Afke Bohle ging de uitdaging aan om met haar oudste zoon een boek te lezen. Na het eerste deel in De Groene Hand-serie van Susan van ’t Hullenaar volgt al snel het tweede. En wat schetst haar verbazing: nu duurt het wachten op deel drie eigenlijk te lang… Mijn jongste zoon is dol op boeken, maar…
One benefit of the Museum Year Card not easily mentioned is the uninhibited free access to clean and comfortable restrooms in the centre of major cities. 'Fifty-plus urinals with MJK' an experienced museum porter called this group of visitors, who, by the way, are most welcome: every pull with the scanning gun means extra cash. Big advantage: you see something extra. A second or...
At last. The Nation, the hyperactual theatrical serial with which the revamped Nationale Toneel, sorry Theatre, presents itself to the country, feels like a refreshing splash of water on a soggy day. Newly appointed boss Eric de Vroedt lives up to his reputation by delivering a work that will no doubt draw new audiences into the theatres. An audience spoiled by...
Boris Charmatz has been a guest at many editions of the Holland Festival with impressive, provocative, socially engaged, finely composed and conceptually strong dance performances: Aatt enen tionon and Con forts fleuve (both in 2001); 50 years of dance (2010), Enfant (2011) and Manger (2015). His latest choreography, danse de nuit, premiered in Geneva last September. During the Holland Festival...
A prologue, two dialogues and a long interlude. All clearly connected. In a performance by Romeo Castellucci - it doesn't have to get any crazier. Italian playwright Castellucci prefers to make theatre that is not easily or even misunderstood. He does not shy away from shock effects. Visually overwhelming, but a clear line is often hardly recognisable. So that promises...
It is just about the most beautiful music written. Claudio Monteverdi's Marian Vespers have enchanted even the most untrained listener since their premiere in 1610. Raphael Pichon is a young French conductor acclaimed for his shimmering yet refined musicality and more than absolute hearing. Everything director Pierre Audi touches usually turns to gold
Roaring warriors, pomp and circumstance, a tough drama set against the historical background of the Viking era. That goes down like cake (or beer) with the Danes who see themselves as direct heirs of the Vikings, the organisers must have thought. And that is why the play Røde Orm is being presented as one of the highlights in...
Cultuurpers is een onmisbare aanvulling op het cultuurnieuws in je krant, op internet of op tv. Onafhankelijk, eigenzinnig, rebels en vooral: nuttig. Er wordt immers al genoeg onzin verteld over kunst. Je zult begrijpen dat we niet de miljoenen lezers bedienen waar de grote uitgevers en hun adverteerders van bestaan. Daarom doen al die anderen ook zo weinig aan kunst.…
Een van de hoogtepunten van het jaar is altijd de presentatie van ‘de cijfers’ door de Vereniging van Schouwburg- en Concertgebouwdirecties (VSCD). Die zijn namelijk onverminderd positief. Al jaren. En dus is het al jaren een uitdaging om uit te zoeken waarom die positieve cijfers zo lastig te rijmen zijn met het beeld van de werkelijkheid. Dat helemaal niet zo…
De roman Haar naam was Sarah (negen miljoen verkochte exemplaren) maakte Tatiana de Rosnay wereldberoemd. In Parijs draagt ze zelfs een pruik als ze niet herkend wil worden. Dat ze kampte met anorexia hield ze jarenlang geheim. [bol_product_links block_id=”bol_592be29ab4765_selected-products” products=”9200000075700087,1001004010207707,9200000077515228,9200000011255053″ name=”a4m” sub_id=”de rosnay” link_color=”003399″ subtitle_color=”000000″ pricetype_color=”000000″ price_color=”CC3300″ deliverytime_color=”009900″ background_color=”FFFFFF” border_color=”D2D2D2″ width=”549″ cols=”2″ show_bol_logo=”0″ show_price=”1″ show_rating=”1″ show_deliverytime=”1″ link_target=”1″ image_size=”1″ admin_preview=”1″] Acht levensvragen…
Sinds 2012 organiseert Yoram Ish-Hurwitz elke zomer het Oranjewoudfestival in Friesland. De even ondernemende als avontuurlijke pianist maakt daarbij de natuur tot onlosmakelijk onderdeel van de muzikale beleving. Van woensdag 1 tot en met maandag 5 juni verrast hij zijn publiek opnieuw met concerten op bijzondere locaties. Verspreid over het gebied spelen ruim 120 Nederlandse en internationale topmusici de mooiste…
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