In the Theatererkrant, 445 theatre makers posted an open letter addressed to Toneelgroep Oostpool, calling on creators and players to stop being afraid and report abuses to https://mores.online/. Summary of the foregoing: there were several complaints of sexual harassment by Oostpool's artistic director Marcus Azzini. An investigation ensued and Azzini...
‘Hoeveel werkelijkheden kunnen we aan? Voor mij is dat het thema van 2018. Die dames van Noord Korea die aan ’t juichen waren, bijvoorbeeld. Maar het zat ook in Halbe Zijlstra die had gelogen over de datsja van Poetin.’ Greg Nottrot, theatermaker uit Utrecht, had zich voor dit jaar voorgenomen een eindejaarsvoorstelling te maken die de tijdgeest goed zou vatten.…
Een verzameling makers zijn ze. Een collectie, maar geen collectief. Wat een ‘f’ niet al kan uitmaken. Taal is dus nogal een dingetje. En crowdsourcen is nogal iets. Deze makers verzamelen woorden van hun publiek, en geven die terug in een voorstelling. Dat is ‘BOG.’, een nog vrij jonge groep die probeert met taal theater te maken om ons aan…
In het laatste deel van ‘boeken der kleine zielen’ zit de ooit in ongenade gevallen Constance in het donkere en tochtige landhuis waar vroeger haar onwillige schoonouders woonden. Constance trouwde tegen hun zin met hun enig kind, baron Henri van der Welcke. Constance’s en Henri’s zoon Addy is het enige wat deze twee mensen verbindt. Liefde voor elkaar is er nooit…
Five art experiences will always stick to this bizarre year for me. And one thing really scared me. Whether the worst is now behind us? At least the most extraordinary is still on view until 5 February 2017. A chronological overview of what was unbelievable, unthinkable, inconceivable, unbelievable and perhaps untrue. Much of it, by the way, will be in 2017...
Zvizdal, the documentary theatre portrait of Pétro and Nadia filmed by Berlin between 2011 and 2016, is not only in Paris, Ghent and Athens. This moving story can also be seen in the Netherlands until 11 November 2016. Near the place where an atomic experiment failed in 1986, Berlin and Zvizdal tell a moving story about an old peasant couple. They remained as...
I experienced by far one of the most impressive theatre experiences of my life on Friday 5 August 2016. I was a guest at 'Zvizdal - Chernobyl so far, so close' by the Flemish company Berlin, in co-production with Het Zuidelijk Toneel. I saw this 'documentary installation' in an empty factory hall in Den Bosch, where the work is a beautiful resting point in...
Boulevard flags fly everywhere in Den Bosch in the sunshine. The office of the 32-year-old Theatre Festival Boulevard on Sint Josephstraat is a jumble of people walking in and out. The beaming director, Viktorien van Hulst, has bags under her eyes like a festival director should have three days before the opening.
Festival Boulevard kicks off on 4 August. The traditional reason to come back from holiday in August has a fuller programme than ever this time. With lots of youth theatre. We'll help you get started in advance.
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
Champagne at BAK in Utrecht, deep disappointment at The New Institute in Rotterdam: the Council for Culture has spoken. Today, Thursday 19 May 2016, the first advice after the draconian art cuts by the first Rutte cabinet came out, and heads are rolling. Amsterdam loses prestigious presentation institution De Appel, in The Hague fellow institution Stroom has to redo its homework. The Orkest van het Oosten and the Gelders Orkest have to come up with merger plans within two years. In Utrecht, the city company Theater Utrecht will no longer receive funding despite artistic appreciation. Het Zuidelijk Toneel in Eindhoven Tilburg must make new plans and Opera Zuid must quickly raise its artistic quality. These are the main conclusions of the Culture Council's opinion.
As dramatic as some of this may sound, the advice is actually not, when you look over the whole battlefield. Thanks in part to
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...
The National Opera, Hänsel und Gretel (opera) It is the best-known fairy tale opera of all time. Not surprisingly, as Humperdinck's adaptation of Hansel and Gretel is overtly rooted in folk music as in almost Wagnerian orchestration. It was bound to be a success. Richard Strauss conducted the world premiere; Amsterdam features International Opera Award Winner Lotte de Beer's version. She moves...
Opera2Day, Mariken in de tuin der lusten (opera) The young The Hague company Opera2Day produces one splendid performance after another. But at the same time it does not rest on all its laurels, opting for adventure by presenting an entirely new opera together with the Nationale Toneel. At the centre is Mariken van Nieumeghen, the girl "who lived with the devil for seven years", the music is by Calliope Tsoupaki and...
'Young people can very well decide for themselves where they want to go or not go. And it just so happens that most of the time it is not to the theatre. So what? That will come naturally. Young people make their own choices, and that more often includes a house party than a play. Dragging them inside is counterproductive. And above all, no compulsory book-list performance,...
Whether a TED talk catches on is often largely down to the speaker. This global craze of pimped-up powerpoints could become a global craze because these 'talks' are delivered by heart in front of an audience. So they are theatrical things, these TED Talks, and that makes them interesting to watch even on a screen. Lucas De Man, director,...
To call the epic about America in the AIDS era a modern classic is an understatement. Since 1993, the play has been performed all over the world with great success. HBO turned it into a disappointing miniseries, Péter Eötvös a completely unsuccessful opera. Toneelgroep Amsterdam recently celebrated triumphs as far away as New York with a five-hour version stripped to the bone, partly prompting 'Meppel-gate'. Director Marcus Azzin has been waiting 20 years to give his vision of this theatrical epic, and at Oostpool he now gets the chance, with a cast that includes only top actors.
Wijbrand Schaap: 'Now on the role of cities. One of the reactions on our site is about the role of the randstad in cultural policy. Melle Daamen puts the primacy in the randstad, and goes further than the council in this.' Joop Daalmeijer: 'The council has no position yet.' Wijbrand Schaap: 'But there is something in the Culture Outlook. Cities form...
Two actors who, together with their director, want to create a performance about loss. Or rather: our fear of losing things, or people. The makers are not quite there yet, it turns out at Theatre Festival Boulevard. From numerous conversations with thinkers and (experiential) experts, they have distilled characters while improvising, which they - separated by a thick...
Na de presentatie van de Rotterdamse en Haagse kunstadviezen, en een paar dagen tot weken voor de harde oordelen van de Raad voor Cultuur, en een paar maanden voor de vernietigende rapporten van het Fonds Podiumkunsten, begint duidelijk te worden hoe ingrijpend de Nederlandse cultuursector geraakt wordt
Hein Janssen (Volkskrant) schreef naar aanleiding van een paar voorstellingen met BN’ers in het gesubsidieerde circuit een column waarin hij stelde dat subsidie daar niet voor bedoeld was. De belangenvereniging voor acteurs vond dat reden genoeg voor een debat. We maakten er een filmpje bij. We hebben dat opgemaakt in storify, een mogelijkheid om tweets en andere socialmedia-berichten samen…
Op het Gala van het Nederlands Theater in de Amsterdamse Stadsschouwburg zijn gisteravond de belangrijkste toneelprijzen uitgereikt. Kees Hulst won de Louis d’Or voor de meest indrukwekkende mannelijke hoofdrol, de rol van Jörgen Hofmeester in’ Tirza’ bij het Nationale Toneel. Maria Kraakman won de Theo d’Or voor de meest indrukwekkende vrouwelijke dragende rol, Orlando in de gelijknamige productie van Toneelgroep Oostpool. Het stuk ‘Oog om Oog’, met onder meer Linda van Dyck en Victor Löw, won de AVRO Toneel Publieksprijs.
Een rode loper, veel champagne en nog veel meer geknuffel. Het is een warm weerzien voor theaterland, het Gala van het Nederlands Theater in de Amsterdamse Stadsschouwburg. Een spannend weerzien ook, want de belangrijkste Nederlandse toneelprijzen worden vanavond uitgereikt.
English (UK) 
Nederlands 
Français
You must be logged in to post a comment.