On Anton de Komplein, it is less cosy than on the roof of Parking 58 in Brussels, where I saw danse de nuit earlier. Above South-East, the moon is hidden behind a thick haze, the square feels big and empty so without the market. The performance by choreographer Boris Charmatz/Musée de la Danse, also today and tomorrow,...
Roaring programmers announce new compositions: "World premiere!" jubilate the posters. Superb, but in contemporary music practice, that primal performance is often immediately the last. The score goes into an archive folder. The notes fall silent; the roar falls silent. The Orphanage takes care of those forgotten works. Context David Dramm snatches such pieces from oblivion and presents them with context at the Orphanage
Do you write a review for people who are still going to the show, for people who have already been or for people who want to be informed? It is and remains an eternal dilemma. Vincent Macaigne's Holland Festival performance 'En Manque' will only be at the Compagnietheater on Thursday 8 and Friday 9 June. The chances of you, the reader,...
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 parade, 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 to 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 wrong
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 theatre maker 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
In the dark Middle Ages, an artist was still sometimes quartered for being out of line. In the 19th century, those lines were no longer important. In the early 20th century, artists started deciding for themselves where the lines were and punished those who did not stick to them. It was the time of artists' manifestos. Cate Blanchett, the...
'Everyone has an Apple. Everyone has a Corneille. Nobody has a Van Merwijk. So the question is whether Van Merwijk is any good. Nobody knows that. Then the challenge is for a few great people to buy a Van Merwijk. After that, everyone wants to have a Van Merwijk. When that happens, I'll go back to making other work, because I want...
You have punk. You have performance art. Best Gaap, because often little remains of that ferocious wildness that dominated the European scene in the 1960s and 1970s. Marina Abramovic we now see mainly as that silent lady on that chair opposite her long-lost lover. We have forgotten that she once offered her audience razors to cut her...
Last year, a minor riot erupted when the Holland Festival announced it was mounting a large-scale project in 2019 around Karlheinz Stockhausen's opera Light. Modern-music haters screamed blue murder, because who is waiting for the German wordsmith's nasty squeak? Yet a run on the charts immediately ensued. Even after his death...
The wind blows harder there than elsewhere. The light is greyer there than further afield. London's south bank, for years 'the other side' of the English capital's posh city centre, has been the subject of several waves of renewal in the last century. It began in 1951 with the construction of concert hall 'Southbank Centre', followed in 1976, after years of wrangling, by the building in the same...
We are real Holland Festival specialists by now. We go and see performances beforehand, interview makers, actors and walk around the halls, in the foyers, just about every day. We hear a lot, we see a lot and we share it here. Cultural journalism as it should be, in short. Cultural journalism that should also be there. And it totally succeeds if you take out a subscription. Then you get...
Using a television interview as a libretto for an opera? Quirky composer Huba de Graaff does not shy away from it. On 22 June, her opera The Naked Shit Songs will have its world premiere. It is based on a 1996 conversation by Theo van Gogh with British artist duo Gilbert & George. Due to lack of interest, De Graaff wanted her opera with a...
What do you get when you combine shadow play, Weimar cinema, gamelan and Javanese myths? A mix that demands a lot from the audience, but is a delight if you are willing to surrender to it. Indonesian director Garin Nugroho does not make easy films. Often they are visually stunning, like Opera Jawa, but the plot gets in the way a bit...
Netflix and HBO are now purveyors of our conversations with friends, family and colleagues. The ultimate icebreaker at a party with strangers is talking about series, about beloved characters. Is Jon Snow still alive? Where is Barb? Having seen the first two working performances of 'The Nation', I have a strong impression that in Eric de Vroedt I have a fellow lover...
The play La Democrazia in America (to be seen at the Holland Festival on 4, 5 and 6 June) is of course about democracy in America, but actually more about The Democracy in America. And the two should not be confused. For The Democracy in America is a 1,200-page book by French jurist De Tocqueville. This...
Vincent Macaigne is uncomfortable. He looks around nervously every time the waitresses run past with trays full of clinking glasses and slam the doors. He has barely slept, and the previous evening he had walloped the audience of the Swiss Theatre Vidy with his brutal, inimitable performance En Manque. Braced, he sat down for the interview. "Sorry, I...
For new music, the primal performance is often also immediately the last time a piece is played. The scores await the archive or dusty drawer; recordings are nowhere to be found. David Dramm searches for these gems of stilted notes. He presents them at the Holland Festival Orphanage: three evenings of forgotten compositions from the rich...
For those who like to be around art, politics has become a bit more fun again, since 15 March. Since the 2017 elections, Thierry Baudet has been in the House of Representatives. Thierry Baudet knows a lot about art, he thinks, and we will come to know it, too. In fact, Thierry Baudet is the best thing about art these days...
Do it. Make it. Don't care about others. Don't think about the consequences. Then sit on the blisters for a while, they will heal again. Starving for a while for art is not bad either. So choose your own path and enjoy every step. Above all: live in the here and now, all the time. History becomes...
Rewire is once again just around the corner. From 31 March to 2 April, the festival takes place in the city centre of The Hague. The young festival does so with a choice of colours and flavours, (just) outside the mainstream. So: where adventure and the great unknown are actually perks - diametrically opposed to Guus Meeuwis on the main stage....
A prelaunch of the Opera Forward Festival OFF [hints]From 18 to 31 March at De Nationale Opera (formerly the Muziektheater/Stopera)[/hints], among other venues, was organised last night at Amsterdam's new society Sexyland. I was impressed. Pretty surprising. Opera Nopera Disclaimer: the author of this one is not an opera director. The last two operas I saw were both by Philip Glass (the true...
Ruth Mackenzie has achieved an enormous amount in the short time she has been boss of Holland Festival. I've experienced the festival now since the late 1990s and watched it evolve from something very personal and sometimes obscure (under Ivo van Hove), to an ethereal feast of sizzling aesthetics (with Pierre Audi), to what it...
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