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'Sometimes the desire not to be seen turns into an excess of exhibitionism.' - Yasmeen Godder on The Toxic Exotic Disappearance Act

She has been busy. Highly pregnant, Yasmeen Godder (Jerusalem, 1973) worked on her first choreography for Batsheva Dance Company. In a month, she stomped out her new performance The Toxic Exotic Disappearance Act under the wings of Batsheva, and in between gave birth to a healthy daughter. scenefoto For the third time, Israeli choreographer Yasmeen Godder is presenting her... 

Rascals and heroes battle for power at Utrecht Festival a/d Werf

There is no such thing as the perfect human being. We are all crooks. Or is there a way to get it right? Ilay den Boer and the actors of De Utrechtse Spelen / De Warme Winkel each explore in their own way at the 26th edition of Festival aan de Werf. Wasn't my grandfather just an asshole? That... 

Yasmeen Godder lets contrast between frightened individual and roaring group animal linger too much in dancers' minds

Dancers by Yasmeen Godder - photo Itzik Giuli

She is on her knees. Shaking and trembling, she jerks backwards. With clawed fingers that seem to grasp at the void. Like a frightened cat. Shuffling, the dancer moves backwards in a semicircle on the white stage floor of Theatre Frog. One by one, the five others step onto the empty open stage, while the first dancer anxiously faces the audience ...

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IDFA 2010 - George Sluizer wants to give Palestinians dignity with Homeland

After the opening film Stand of the Stars, the second major premiere of a Dutch documentary at IDFA was that of Homeland. The screening at the Tuschinski Theatre, incidentally, was not just about the Palestinian cause, as it was also, of course, a celebration in honour of 78-year-old director George Sluizer (Spoorloos), arguably our most internationally oriented filmmaker.... 

This is my father: flaming stab at anti-Semitism to be seen on #tf2010

In This is my father, young theatre-maker Ilay den Boer (1986) literally puts his own father in the spotlight. He does so by giving his father the lead role in a performance that is all about him. This results in intimate and voyeuristic theatre.
Before the performance, you will be given a booklet describing the life of Gert den Boer. Based on dates and events, visitors can ask questions to the men on stage. Father and son answer, open doors and tell anecdotes. But what if it turns out that they handle some events very differently? Where Jewish Ilay sees signs of anti-Semitism, his own reformed father recognises an innocent incident. How differently do father and son view issues like discrimination or hatred?

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