Fringe notes (4): The politics of bricks and hula hoop #edfringe
Two very different forms of political theatre at the Edinburgh Fringe: feminist varieté and an immersive mode at the Maidan. You'll be throwing bricks before you know it.
Europe
NJO Music Summer presents 'Drama in Vienna'
Since its inception, the NJO Music Summer has spread its wings. It started in 2001 as a summer course for music students who were allowed to work with internationally renowned musicians, composers and conductors. Since then, the NJO Music Summer has grown into an unmissable, audience-friendly festival, covering the entire province of Gelderland. On Friday 19 August, it takes a step across the border to Overijssel,...
Liverpool Biennial: a grab bag that occasionally leads to wonderment
"Things happen, and then they happen again, but not the same way, not quite; such is the logic of the biennial. And then there are things which have never happened before, and which happen now and in a time that seems somehow out of time, or takes our 'now' out with it." [hints]"Things happen, and then they happen again, but not....
Fernando Botero: 'Almost everything around us is art'
A major retrospective of the work of Fernando Botero (1932) is on show at the Kunsthal in Rotterdam, entitled Botero: Celebrate Life! The rush of opening such an exhibition takes energy out of him, but strangely enough painting never exhausts him, he says in his studio in Monaco. 'I have never experienced anything more fulfilling than painting or sculpting. Painting takes you out of everyday reality. You forget your body - even your existence. It's intense, but while painting I don't feel any fatigue, even after working for seven or eight hours. Whereas at a cocktail party I'm exhausted after only half an hour.'
Poubelle by Pieter Waterdrinker: MH17 and the stench of Europe
The Netherlands is commemorating the MH17 disaster this month. Two years on, the question of guilt is still not unequivocally answered. The protagonist of Pieter Waterdrinker's novel Poubelle has less trouble with that: who holds himself mostly responsible. A conversation with correspondent novelist Waterdrinker: on modern European history, the Russian mentality, Great Literature and the shit of contemporary Europe.
Oy. @geertwilderspvv sets Richard III as an example to the Netherlands
Finally, it was not quite literal, but he was clearly referring to it: Richard III. Geert Wilders, himself not too culturally savvy, quotes Shakespeare in his umpteenth plea to get the Netherlands out of the EU with pot-covered borders. In the second chamber. I saw it on Nieuwsuur, and you can watch it back. At 39′:49″ minutes into the broadcast he is in debate with his great friend, the VVD's Halbe Zijlstra.
On the edge of Europe, Holland Festival attracts 86,000 visitors #HF16
Ruth Mackenzie has brought new impetus to the Holland Festival. Not that her predecessor Pierre Audi did badly, but the British organisational talent has brought topicality and urgency to the programme. When she devised her programme theme, she too will not have suspected that the concept of 'Edges of Europe' would take on such a charge. After all, simultaneously with the last weekend of the festival, the English people decided, against the wishes of everyone but the Welsh, to leave the European Union behind. The Netherlands suddenly found itself on the far edge of Europe, with only a view of distant Ireland.
'The European is an orphan' - Milo Rau on The Dark Ages #HF16
Swiss playwright Milo Rau created a theatrical trilogy about the demise of the European ideal. The second part The Dark Ages is now at the Holland Festival. Rau combined his actors' painful, personal life stories with themes from the works of Chekhov, Shakespeare and the Greek tragedies. With a Freudian sauce: 'Countless people who are The Dark Ages have seen ask me: 'Milo, is something wrong with your father?'
McBurney's The Encounter points visitor #HF16 to a different way of life
The Encounter, a large-scale solo performance by British multi-talent Simon McBurney, had its Dutch premiere at the Holland Festival on Thursday. The Encounter combines the dramatic power of a Hollywood blockbuster with the polished simplicity of 20th-century, stripped-down, edited - call it Brechtian - theatre.
This is more than a review of the opening of the Holland Festival
On Saturday 4 June 2016, I attended the royal opening of the Holland Festival and was able to attend no review write about, because I was sitting in the front row of the Amsterdam Stadsschouwburg. As the stage was elevated, I was looking against a black wall, above which only the front actors were visible. The back and lower half of the stage were completely eluding me.
Me wrote that on, and the Holland Festival generously offered me the opportunity to go and see the performance again, from a better seat. At the same time, the organisers told me that the first three rows of the Stadsschouwburg would be compensated at this performance. So I went to Amsterdam one more time, on Monday 6 June.
Before the performance, while not eating a blackened hamburger in theatre restaurant Stanislavski, I heard from the neat people at the little table next to me that the front seats were offered at a sharply reduced rate, and that people like them who had already bought tickets had the choice of thus getting a partial refund or going on the waiting list for a seat with better sightlines. Whether they eventually managed to get one of the spots with better visibility, I don't know. The performance
Emscher art: substance enough for discussion on public participation in artworks
On the same day that in Arnhem our king opened Sonsbeek 16, there was also a party around the Phoenixsee in Dortmund. Namely, Emscherkunst 2016 opened there, and for those who have never heard of it: it is the continuation of previous art events in the Ruhr region, the former industrial heart of Europe. I went there once myself, six years ago, and had mixed feelings: is investing in art really an appropriate method to save an area abandoned by the economy?
Composer Marie Jaëll: French flair, Russian drama
Had her name been Marc, Marie Jaëll (1846-1925) was undoubtedly considered one of the important French composers of the late nineteenth, early twentieth century. But then again, she was once a woman - so unimportant. Praised during her lifetime by none other than Franz Liszt, she was soon forgotten after her death. At most, she lived on in the by...
Joel Pommerat: 'History does not repeat itself. Instead, we can learn from it.' (HF16)
One of the special performances at this year's Holland Festival is 'Ça Ira (1): Fin de Louis' by French company Compagnie Louis Brouillard. I visited the performance earlier in Luxembourg and spoke to the director and writer of this over four-hour marathon about the French Revolution. It seems quite something: 40 actors on stage...
Choreographer Jan Martens on Spring: 'I hold my heart every time, how it turns out'
Choreographer Jan Martens' new performance, The Common People, is on show in Utrecht this weekend during Spring. Dozens of volunteer performers have a blind date on the stage of the Stadsschouwburg's main auditorium. The audience can walk in and out between performances, drink a beer for the duration of one or more duets or browse on the back stage and...
Music life loses colourful figure in Bernard van Beurden
"Thea, I must have that concert organiser's number!", his commanding baritone sounded in my ear. Bernard van Beurden (1933-2016) invariably phoned from the South of France, where he lived - he had a modest pied-à-terre in Amsterdam. As a music journalist, I had interviewed him several times and seemed the right person to help him get information from his distant homeland. Subsequently, we sat for hours...
Voices Outside The Echo Chamber: we need exhibitions like this
An exhibition that puts our view of migration and migrants at the centre, critical of our migration policy but does not fall into easy pamphleteering, that is "Voices outside the echo chamber". On Friday 29 April, the exhibition "Voices outside the echo chamber"-an exhibition by Framer Framed, the Amsterdam-based organisation that has been questioning and commenting on the visual language in our arts for years-opened at the Tolhuistuin. After all,...
Andalusia is Amsterdam and Amsterdam is Andalusia at Podium Mozaïek
"This was actually a mixtape," says Yassine Boussaid, Saturday 9 April 2016 after his concert, "as my cousin used to give me, for the long way back from Morocco to Amsterdam. Yassine is the business leader of the Amsterdam Andalusian Orchestra (AAO). Together with artistic director Mohamed Chairi and director-writer Mohamed Aadroun, he puts together concerts at breakneck speed....
Frans Budé: 'A poem has to have a story'
In his recent collection Achter het verdwijnpunt, death plays an important role. Poet Frans Budé lost no fewer than four poet friends in a short time and honoured them in verse. The 70-year-old poet himself still writes as avidly as in his younger years: in addition to an occasional collection on the Maas, to be published in May, he wrote poems for the upcoming exhibition...
Embarrassment? 7 Reasons why Southern Drama Macbeth has nothing to do with Shakespeare.
How far can you go in using Shakespeare's name for a theatre production? Or rather, when does an adaptation of a classic stop being an adaptation, and when should you just come out and say that you have written your own play? And then, if you've reported in your four-year plan that in 2016 you will be doing a Shakespeare...
What is the relevance of contemporary dance?
Last weekend's workshop The Relevance of Dance, organised by Dansmakers Amsterdam and the European Dance House Network, sought to answer the question: What is the relevance of contemporary dance art for audiences? Suzy Blok, general director of Dansmakers Amsterdam, opened the atelier by talking about the desire of production houses to bring dance more to the...
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