Firs is his name. And he always arrives late. Because of the gout. Poor houseboy. Firs was created by Anton Chekhov. His masterpiece The Cherry Garden is about the boredom and lameness of the old rich, and Firs is the house servant who sees it all happening. Chekhov lets him die, at the end, when the departing house owners totally forget about him...
Papageno showed off without his feathers last night. Indeed, the entire direction of Une flûte enchantée was an unadorned pleasure. Sober. Integral. You can't get a Dutch audience wilder than with such an approach. Compliments, then, to Peter Brook. At the Muziekgebouw aan het IJ was the Dutch premiere of Brook's adaptation of Mozart's Die Zauberflöte. The production turned...
Actors wearing sort of harem trousers and bamboo sticks on a nondescript playing surface. Some of you may think back nostalgically or with trepidation to the days when there were 'Akademies voor Ekspressie' in the Netherlands. Summits of socio-art. Sometime deep in the 1970s, that is. Maladype Theatre, from Hungary, fits seamlessly into that picture, which...
Dying young turns out to be advantageous not only for skywalkers like Buddy Holly, Sam Cooke or Jesus. Even in a rather elitist world like that of German theatre, you can achieve star status through an early death. At least that happened to Christoph Schlingensief, the man who died of lung cancer in 2010. The man had already achieved stardom throughout the German-speaking world,...
That was a bit of a grind for British theatre critics. The celebrated director Deborah Warner (1959) recently pulled Richard Brinsley Sheridan's The School for Scandal out of the closet. A play from 1777, and an untouchable part of the British theatre canon. Building on the style of her earlier production Mother Courage (2009) Warner also indicated The School for Scandal - goddamn - a quirky, contemporary twist.
"With many video, light, music and noise - like a rock concert, " grins Warner in the office of the Barbican Theatre In London. "Mother Courage had an incredibly populist, exciting atmosphere. I love that arrogant theatricality immensely, and I wanted to continue that style in The School for Scandal. For me, the big challenge was to explore the Brechtian theatre style of Weimar - which I got through Mother Courage had discovered again - to collide with an eighteenth-century theatre text."
Two boys beat a guitar with a baseball bat, which was hanging on a rope in the air. Moments before, they also battered the instrument in a strange game of tug-of-war, during which the guitar regularly hit the ground. Both times, shrill, nasty sounds fill the room. The games are played with a deadly serious face, so they seem to be telling something to the visitors. But what actually? That question keeps spinning through your head with almost every theatrical moment in The Long Count. The project by twin brothers Bryce and Aaron Dessner of indie rock band The National sounds rather exciting. For instance, the announcement calls it a multimedia concert, with a song cycle that is supposed to focus on the time before our world began. The musicians created it with video artist Matthew Ritchie and used the Popol Vuh, a historical-mythological text by a Mayan people from Guatemala about those early days, as inspiration. In the show, they aim to make connections between Mayan myth and their own lives.
De vorig jaar aan longkanker overleden Künstler Christoph Schlingensief – alleskunner, provocateur, regisseur, levenskunstenaar – krijgt op het Holland Festival een uitgebreid eerbetoon: de openingsvoorstelling Mea Culpa, een programma met zeven speelfilms, en Schlingensiefs zwanenzang Via Intolleranza II.
Doodziek vatte Christoph Schlingensief het wilde plan op om in Burkina Faso een operadorp uit de grond te stampen, Remdoogo. Een zelfvoorzienende vrijplaats waar mensen vanuit verschillende culturen elkaar zouden kunnen ontmoeten, en om daar voor langere tijd samen kunst te maken. Dit in navolging van vergelijkbare initiatieven zoals het Avenida Theater in Mozambique, opgezet door schrijver Henning Mankell. Schlingensief streefde naar het samenvloeien van kunst en leven. Gedreven uit een jarenlange fascinatie voor de rijke Afrikaanse cultuur, en geïnspireerd op de idealen van zijn grote held Joseph Beuys.
Via Intolleranza II is Schlingensiefs poging om in een maalstroom van documentaire, muziek, beeldende kunst, film, performancekunst, lezing, opera en theater het prille wordingsproces van Remdoogo vast te leggen. Een voorstelling over een proces. Tegelijkertijd lijkt Schlingensief ook zijn eigen motieven te bevragen. Via Intolleranza II was zijn zwanenzang – hij stierf drie maanden na de première. De voorstelling krijgt op zaterdag 4 juni de Nederlandse première.
'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...
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...
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.
There is an interesting 'drone' underneath, and that may strike someone as menacing. In any case, the video at the end of this article has more meaning than many culture lovers might think. The fact is that the sweeping cuts made by the UK government through their 'Arts Council' have met with hardly any protests in retrospect, while the disproportionality in the cut...
Although the announcement of 'sonic tapestry: Shoes, part V' by Tomoko Mukaiyama can be read as a variant of Sex and the City on classical music, Sarah Jessica Parker would forever look at her Manolo Blahniks differently after seeing Mukaiyama's performance. This very special piano recital was Saturday 7 May at LP2 (Room 2 of the Rotterdam...
Admittedly, our method of reviewing (see our contributions on Springdance and De Internationale Keuze) is new to the Netherlands, but in the States a few were already doing it. For example, the two yummy guys Andrew and Andrew are doing well with their iPhones, doing the same as the Dodo with the Kodak Zi8 (no shares, though we would love to be sponsored...
Springdance Utrecht has ended. Boris Charmatz gave the last performance of the Utrecht dance festival last night with "Levée des conflits". Critics Fransien van der Putt and Daniël Bertina already show their opinions in the film below. They also have a conversation with Boris Charmatz. Read more about this performance.
The Springdance Festival in Utrecht is coming to an end. Today, the last performances take place. Three reviewers from the Cultureel Persbureau look back on the festival, in an interview with Jeroen Stout. Reviewer Fransien van der Putt does get spring fever from Springdance, she says in the interview: 'This festival exceeded my expectations.' Daniël Bertina (also a critic) also found it a particularly...
Her full thighs clatter together. She shakes her bare arms, grinning at the trembling skin on her upper arms. She stomps furiously across the Theatre Kikker's playing floor, while her hefty body - dressed in a small, nondisguising black dress - emphatically bounces happily on all sides. You just have to dare. In her one-woman show 'Gina', Swiss theatre maker Eugénie Rebetez beyond all embarrassment. In the skin of Gina, Rebetez shows her own yearning for stardom, with plenty of self-mockery and absurdist humour. A quirky mishmash of mime, stand-up comedy, cabaret and contemporary dance.
Had we completely forgotten about the goat from sheer terror. Anyway. That goat, or at least its completely skinned carcass according to Dutch law, plays a role in the finale of Ishmael Houston-Jones' show Them. Afterwards, we saw the audience come out rather affected.
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....
Clara García Fraile represents England in the international programme Europe in Motion. Young choreographers interacted during the festival and will present their own work at the end of this edition. Clara has nothing to show, she says, but that is also because, as a video artist, she is working on other things than dance. And those other things are...
With their name, the five Japanese of contact Gonzo refer to the gonzo journalism by the late Hunter S. Thompson. Raw, harsh and subjective. Thomspon also showed how he worked in his pieces. Contact Gonzo warms up during the performance, taking snapshots of each other with disposable cameras and passing the water bottle. Gonzo-style: what you see is what you get.
Contact Gonzo adheres to simple rules. For example gravity: jumping and coming down. Or attracting and repelling: pushing, pulling, like a rugby scrum. In doing so, they touch on minimal art that adhered to a set of parameters; one thinks of Sol LeWitt.
It could be a circus number, but the stillness in this technical dance installation ensures that it rises above the level of a pretty trick. Hanging from pulleys supported by counterweights, Sylvain floats in the Academy Theatre. Here, he briefly explains how it works. Spoiler alert. And in French.
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.
The performance 'Ast im auge' is an extremely hushed show that focuses on the viewing of viewing, the feeling of feeling, the experiencing of experiencing. Anyone who recognises the thinking of philosopher Immanuel Kant in this is right. Yet the result is also - unintentionally - sensual. This is evident from the conversation with choreographer Jana Unmussig....
Terts Brinkhoff , founder of De Parade, has a set of sheds on the frayed edge of Weesp in which all the travelling festival's tents are stored, when not rented out. In April, the management (now Ray van Santen and Nicole van Vessum) gathers all the artists from the upcoming summer tour there for an introduction. Press time, of course. And with the weather like...
Margret Sara Gudjonsdottir explores the unequal power relationship between spectators and dancer. And goes very far in doing so. Uncomfortable' is still the mildest description for the work 'Soft Target'. Which is not at all the case for a conversation in private.
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