In English without Hungarian translation. Intermediate English knowledge is needed.
POST-SHOW DISCUSSION
On 16 November Noémi Herczog and András Sztrókay critics will talk to the directors after the performance (in English, without translation).
Everybody is welcome!
Recommended for ages 16+
The distinction between actors and the audience is often unclear with Ontroerend Goed. More than a piece you just watch, the company takes you by the hand for a performance you truly experience. Audience will focus on the audience more than ever. The Belgian company exists to push boundaries: theatrical, moral, ethical. But don’t worry, one of the performers stressed that "theatre is a safe place to do unsafe things.”
Ontroerend Goed is a young Belgian theatre performance group based in Gent. The group is made up of young creators who explore the space between theatre and performance, writing their own texts from a strong basic concept and adapting familiar formats from various media. From cabaretesque poetry performance over metatheatre for laymen to a five-part theatrical soap series, the group continues to create theatre that is equally challenging and treacherously shallow.
Director and text: Alexander DEVRIENDT
Actors and text: Roos VAN VLAENDEREN, Matthieu SYS, Tiemen VAN HAVER, Joeri SMET
Dramaturgy: Joeri SMET
Scenography and costume design: Sophie DE SOMERE
Light design and music compilation: Timme AFSCHRIFT
Cameraman: Aaron DE KEYZER
Technician: Lilith TREMMERY, Sam VANDENHOECK
In coproduction with Richard Jordan Productions Ltd.; Vooruit Kunstencentrum & Drum Theatre Plymouth
With the support of The National Theatre Studio (London), Drum Theatre (Plymouth) & Vooruit (Gent); Flemish community, the Province of East-Flanders & the City of Ghent.
http://www.ontroerendgoed.be/
The performance is the fourth station of Trafó’s Focal Point Theatrical Series. The contemporary theater and theater-building has a complex nature: it establishes a direct connection between the players and the audience and instead of the conventional, one-sided approach of reception, it tries establishing a conversational relationship which mediates and exhibits. It's built on the thinking, active participation and sometimes even the resistance of the audience. The companies introduced in the series include some which rely on a strong visual presence, some which emphasize interaction and audience participation, and others which choose a traditional method of presenting a story, yet all of which stress the importance of (motion) pictures. This provides us with five models which present current themes in an artistically relevant way in 2012.
