Directed by Tim Etchells and based on the novel by Ágota Kristóf, The Notebook tells the story of twin brothers evacuated to the Hungarian countryside during World War II. Kristof’s narrational language – bold, crisp and reduced – provides the basis for a compelling performance.
In the early seventies Franz West created his first adaptives or portable sculptures. Using these sculptures, Ivo Dimchev created the solo I-on, followed by the group performance X-on, for which West made new, bigger adaptives. The bodies of the performers and the art objects enter into a unique relationship.
Three friends. Their ideas about what art should be and how much it should be allowed to cost, are rather different. Kuno Bakker, Gillis Biesheuvel and Frank Vercruyssen appear in Kunst, a brilliant tragicomedy by Yasmina Reza.
Natali Broods, Sara De Roo and Willem de Wolf come together in a performance about the Marx sisters (daughters of Karl), about their and our emancipation, about ideological and artistic freedom, about paternalism and liberation, about work, family and children. About hustle and bustle and pressure.
In previous solo performances, choreographer Ula Sickle and sound artist Yann Leguay examined the interaction between movement, voice, sound and light. In Prelude, they work with Norwegian vocalist Stine Janvin Motland. With her use of extended vocal technique, Motland explores the limits of the human voice, entering into dialogue with the amplified elements present on stage. Has the body become an extension of technology?