Anyway: while Amsterdam's city newspaper Parool was embarking on a campaign against the Dutch capital's city company at the behest of the Flemish publishing board, the same Toneelgroep Amsterdam was winning the hearts of New York audiences with a production of the already years-old 'Roman Tragedies', which a few here did not even like overall: http://www.wijbrandschaap.nl/2007/06/romeinse-tragedies-hf2007ta/
Maybe it is also just the wrong choice to see part three immediately after the first two parts. Maybe after a day of you or some settling down you will be able to appreciate Petry's text, on its own merits. Imagine a three-star dinner. A sensuous succession of small and medium-sized dishes, prepared with the...
The Young Makers Marathon For Your Eyes Only at Springdance features performances by students from the influential dance academies School for New Dance Development (The Netherlands) and P.A.R.T.S. (Belgium). I had the pleaure to see two of them. Cow's Theory by Cecila Lisa Eliceche (P.A.R.T.S.) is a hyperintense piece of contact dance. Three female performers move at super slow pace,...
We were somewhat mildly ironic about it, but hats off, meanwhile, to Toneelgroep Amsterdam's PR department and the audience, who responded remarkably well to the 'choose the reprise' campaign the company launched a few weeks back. We have the hard numbers we feared we would never see. And they are credible. We quote the press release: From 2 to...
Nothing is more uplifting than singing a canon together. French choreographer Boris Charmatz's Frère Jacques, seen as the bouncer on the final night of Springdance, is a special case, though. 'Levée des conflits' has no recurring refrain, but it has no fewer than 25 stanzas, which are danced by each of the 24 dancers. The insane polyphony that rises from this monster canon of dancing bodies slowly rattles the viewer apart over 1 hour and 40 minutes, at least if they keep following the multitude of movements and manipulations. 'Levée des conflits' presents the audience with a dilemma: does it surrender to the inimitability of interlocking phases and versions of a composition that it cannot possibly oversee? Or does it frantically search for structure, something to hold on to, something to orientate itself in this hall of mirrors of repetition and multiplication?
Leonard Retel Helmrich's Stand of the Stars is a two-time winner of the Amsterdam documentary festival IDFA. At the awards ceremony at the Tuschinski theatre, it was announced that this dynamic and poetic portrait of a poor Indonesian family not only won the VPRO IDFA Award for best feature-length documentary, but was also chosen (by another jury) as the best of the...
The Marathon Effect is well known: put spectators together in a theatre for half a day or more, preferably on uncomfortable seats, and hand them over to a couple of actors with a play. Success seems assured, and the ancient Greeks already knew that. So that there would be no discord surrounding the monster project I Demoni, the Dostoevsky adaptation of Peter...
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