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Via Intolleranza II is an irresistibly witty theatrical chaos about the construction of an opera village.

by Daniel Bertina
27 May 201130 March 2022
5 min read
For members only, SPECIALS

VIA INTOLLERANZA II — photo: Aino Laberenz

The lung cancer survivor who died last year Künstler Christoph Schlingensief - all-rounder, provocateur, director, life artist - gets on the Holland Festival an extended tribute: the opening performance Mea Culpa, a programme of seven feature films, and Schlingensief's swan song Via Intolleranza II.

Deathly ill caught Christoph Schlingensief up the wild plan to move into Burkina Faso an opera village from the ground up, Remdoogo. A self-sufficient sanctuary where people from different cultures could meet, and to make art together there for an extended period of time. This follows similar initiatives such as the Avenida Theatre in Mozambique, set up by author Henning Mankell. Schlingensief sought to merge art and life. Driven by a long-standing fascination with the rich African culture, and inspired by the ideals of his great hero Joseph Beuys.

Via Intolleranza II is Schlingensief's attempt to capture, in a maelstrom of documentary, music, visual art, film, performance art, lecture, opera and theatre, the early process of becoming Remdoogo. A performance about a process. At the same time, Schlingensief also seems to question his own motives. Via Intolleranza II was his swan song - he died three months after the premiere. The show will have its Dutch premiere on Saturday 4 June.

Playing with the Wooster Group: 'a totally new way of being on stage, of dealing with signals and the material of the show'

by Wijbrand Schaap
25 May 201130 March 2022
5 min read
For members only, SPECIALS

'Your audience will love it.' That was the last thing Liz Lecompte of the Wooster Group heard from the heirs of playwright Tennessee Williams shortly before the premiere of Vieux Carré. Since then, the trustees of the estate of this American monument have been keeping quiet about the performance Lecompte created. It was the end of a long period in which...

You'd be interested to know what Spalding Gray and Christoph Schlingensief would have had to say to each other.

by Leo Bankersen
24 May 20118 July 2016
4 min read
FILM, SPECIALS

Cover of Spalding Gray At the Holland Festival, two minds wander. The loudest is that of Christoph Schlingensief, Germany's most independent filmmaker, theatre-maker, activist and enfant terrible, always good for controversy. After being diagnosed with lung cancer in 2008, he processed his anger and fear in Eine Kirche der Angst vor dem Fremden in mir, presented in 2009 at...

'They want to put everything on the line. In Western Europe, that desire is stupidly lacking': Algerian B-Boyz vulnerable and unyielding in Nya

by Fransien van der Putt
24 May 201130 March 2022
6 min read
For members only, SPECIALS

This year, the Holland Festival brings the extraordinary French-Algerian co-production Nya, which combines achievements of modern and classical dance with hip-hop and, in addition, Ravel's Bolero sounds alongside Houria Aïchi's Algerian evergreens.

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

by one of our members
23 May 201130 March 2022
4 min read
ACTUAL, For members only

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...

Gergiev comes to Rotterdam with a top orchestra and top repertoire, but audiences are used to that from him

by one of our members
14 May 20118 July 2016
3 min read
ACTUAL

Russian conductor Valeri Gergjev was back in Rotterdam for a while, for one concert. He conducted his own orchestra, the London Symphony Orchestra (LSO), in de Doelen. The famous orchestra played repertoire that we in our country know inside out: Gustav Mahler's 1st symphony and Dmitri Shostakowich's 1st piano concerto. A now historic combination: because the Netherlands has become fused...

Sara Tavares begrijpt als geen ander dat je achterover in het ritme moet gaan hangen om het te laten werken

by one of our members
8 May 20118 July 2016
3 min read
ACTUAL

Ongeveer tien jaar geleden stond er op het grote podium van de Rotterdamse concertzaal De Doelen een frêle en nog zoekende jonge vrouw, een singer-songwriter in een andere taal dan Engels. Soms in het Portugees maar meestal in het criollo van de Kaapverdische eilanden presenteerde deze Sara Tavares met minimale begeleiding haar cd ‘Mi ma bô’ die haar later internationale…

Opinion: 'Let Joop van den Ende take classical ballet under his wing, merge Nederlands Dans Theater, Nationale Ballet and Scapino Ballet.'

by one of our members
5 May 20118 July 2016
4 min read
ACTUAL

It was predictable. Now that the Culture Council has given the secretary of state a go-ahead for massive and very deep cuts in dance, the first press releases are appearing with the outraged reactions. The National Ballet and Nederlands Dans Theater are aggrieved: 'How

Fascinating canon with 24 dancers by Boris Charmatz as bouncer and finale of Springdance 2011

by Fransien van der Putt
25 April 201130 March 2022
4 min read
ACTUAL, For members only

Springdance 9 — Boris Charmatz's dancers in ''Levée des conflits'' Photo Caroline Ablain.

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 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?

Maar hoe zat het nou met die geit?

by Wijbrand Schaap
23 April 201130 March 2022
1 min read
ACTUAL, For members only

Waren we van pure schrik helemaal vergeten hoe dat nou zat met die geit. Enfin. Die geit, of althans het volgens de Nederlandse wetgeving geheel ontvelde karkas ervan, speelt een rol in de finale van de voorstelling Them van Ishmael Houston-Jones. We zagen na afloop het publiek tamelijk aangedaan naar buiten komen.

Music echoes in the heads of Emanuel Gat Dance's dancers and hangs over the stage like a secret

by Maarten Baanders
22 April 20118 July 2016
3 min read
ACTUAL

When music sounds, almost everyone tends to move with it. Music leads to dance. That link is crystal clear. But in modern dance, that obviousness is broken. Watching 'Silent Ballet' by Emanuel Gat Dance, this becomes poignantly clear. Without a single sound being sent into the auditorium, the eight dancers swarm across the stage....

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

by Daniel Bertina
20 April 201129 March 2022
3 min read
ACTUAL, For members only

storm end come Itzik Giuli — 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 keeps looking anxiously at the audience. Thus begins 'Storm end come'. With this performance, Israeli choreographer Yasmeen Godder shows the overwhelming effects of fear on the bodies of her dancers. But it doesn't really get scary.

Je gelooft met je ogen niet, wat je met je oren hoort bij drummachine Savion Glover

by Fransien van der Putt
17 April 201130 March 2022
3 min read
ACTUAL, For members only

“I don’t care about the body, I make music,” zei Savion Glover gisteravond, geleund tegen de deurpost van zijn kleedkamer na afloop van de voorstelling Bare Soundz. Het danspubliek in de Utrechtse Stadsschouwburg had moeite zich de mores van een jazzpubliek eigen te maken. Naarmate het concert vorderde, produceerde het steeds vaker aanmoedigende yels wanneer de drie tapdansers los gingen…

"It would be very weird if you weren't allowed to laugh at a performance"

by Wijbrand Schaap
16 April 20118 July 2016
1 min read
ACTUAL

A shy, unassuming man, who transforms on stage into a brilliant clown and artist at the same time. You can't get more typically British than choreographer and dancer Jonathan Burrows. He has achieved cult status in the dance world, and it is actually strange that his performances do not reach a wider audience. Although he himself says he has no shortage of audience members...

Springdance opens with Botelho's Sideways Rain: fascinating intensity of dance, but lack of consistency

by Fransien van der Putt
15 April 201130 March 2022
4 min read
ACTUAL, For members only

Normandy 2010 — Scene from Sideways Rain by Botelho. Photo by Jean-Yves Genoud

From left to right, single people move across the stage, unceasingly and in droves sometimes, for an hour. It is addictive, this locomotion in Sideways Rain, the endless forward motion in one and the same direction of what appear to be ever-new people. Through subtle costume changes, a dark lighting scheme and Murcof's dramatic drones, it is very difficult at first to tell the 15 dancers apart. They become a fascinating stream of passers-by, on their way from somewhere to nowhere. Unlike the view along the public road, the dancers do not carry the usual bags, umbrellas and hats and, moreover, they move mainly on four legs.

Visitation Committee Dutch Orchestras turns heel: "Dear Mr Zijlstra, culture is an essential part of civilisation!"

by Wijbrand Schaap
8 April 20118 July 2016
4 min read
ACTUAL

"Dear Mr Zijlstra, culture is an essential part of civilisation. It contributes to social cohesion and economic growth. The Dutch orchestras can make a major contribution, which, incidentally, is not synonymous with everything just staying as it was." Unlike the 'Table of Six', the talking shop of six arts bobos who, in their enthusiasm over an entrance at...

Arts sector comes up with its own interpretation of culture cuts: more money to venues and assessment by 'professionals' on 'objective grounds'.

by Wijbrand Schaap
29 March 201130 March 2022
6 min read
ACTUAL, For members only

After the cry, now the official piece. With a fitting, tad Den Uyl/Van Agt-like title: 'Less where it can be done, better where it must be done.' But let's not laugh too hard. It is quite brave what they have done. Gitta Luyten, Marianne Versteegh, Joke Hubert, Henk Scholten, Siebe Weide and Ben Holvast, together as bosses of arts umbrellas and cultural sector institutes also...

After U with Monic Hendrickx and Jaap Spijkers opens third edition of Go Short

by Leo Bankersen
16 March 201130 March 2022
2 min read
ACTUAL, For members only, FILM, APPRECIATE & DONATE!

To protest against the cuts in culture, you can of course shout loudly, but as an artist you can also just do what you are good at - make something really beautiful. Dutch film director Danyael Sugawara (Alles stroomt) chose the latter and in a day and a half, with the best Dutch actors, shot Na U, a small drama about unconditional love and...

Sleeping on the stand, it happens in the best families.

by one of our members
15 February 201130 March 2022
5 min read
ACTUAL, For members only

Sometimes this is not about hard news, subsidy stress or condescension for a while, but about other matters of art. Director and writer Erik Snel sent us the following sigh, now made topical again by

Yannick spurs his orchestra to a memorable and historic performance of Prokofiev's fifth symphony

by one of our members
12 February 201129 March 2022
4 min read
ACTUAL, For members only

The Rotterdam Philharmonic Orchestra is rated differently by conductors. Either you can get along with it and then it's a party, or it never becomes anything and then it stays at the occasional conducting session. Moreover, the musicians' enormous responsiveness is feared.

IFFR 2011 - Slotted screening of high-profile Egyptian drama 678

by Leo Bankersen
3 February 201130 March 2022
2 min read
ACTUAL, For members only, FILM

With a last-minute added screening of the Egyptian drama 678, which caused quite a stir in Cairo in December, Rotterdam was still able to catch up a little on Egyptian current events. 678 dispenses with the myth that Egyptian women can protect themselves from handsome men by wearing a headscarf. In the loosely fact-based...

NRC, Vandenende Foundation and Erasmus University show shocking lack of knowledge of art world

by one of our members
31 January 201130 March 2022
3 min read
ACTUAL, For members only

Inwhile, the website has been updated, but since this post prompted that update, we are leaving it up.

Always good to support a new initiative. That's why we also welcomed the constructive plan from

IFFR 2011 - Tiger Eyes is beautiful ode to personal cinema

by Leo Bankersen
31 January 201130 March 2022
3 min read
ACTUAL, For members only, FILM

Those who did not attend the first cinema screening of Tiger Eyes yesterday would do well to still tune in to Nederland 2 on Tuesday night. That is the television premiere of this Frank Scheffer-directed anniversary film with which the Rotterdam Film Festival celebrates its fortieth edition. In Tiger Eyes, seven directors who together represent the kind of cinema that Rotterdam strongly...

With the best actors of their generation, Oostpool makes beautiful theatre of J.D. Salinger's America

by Wijbrand Schaap
30 January 20118 July 2016
3 min read
ACTUAL

Things become more fascinating when you look back on them 30 years or so later. Three decades make the life you were once in the middle of history, and that is happening to my generation (40-somethings) now with the second half of the last century. Hence the success of Jonathan Frantzen's masterpieces Freedom and The Corrections, and hence the success of a DVD series like Mad Men....

Ifigeneia had to die, according to the reconstruction by the jubilee Theatre Group Alum

by Wijbrand Schaap
29 January 201130 March 2022
4 min read
ACTUAL, For members only

"That looks like a book series!" my wife spoke with some horror upon seeing the cover of 'The Revenge of Iphigenia'. And yes, it has to be said: in book format, the poster of Theatre Group Alum's latest theatre production is a bit too much of a stretch. From the A0 poster, you would never have thought so. Indeed: those posters of Alum, which...

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