WINTER 2020


    BRASS

    02-09/11/2019 November Music, 's Hertogenbosch(NL)
    22/11-08/12/2019 Klinkende Stad, Kortrijk

    Installation

    Human emotion and the capacity for abstraction are possibly expressed most powerfully in music and the playing of an instrument. Music is also of the gods, from the heavenly sounds on Mount Olympus to the harmony of the spheres that resounds in the universe.
    BRASS is a ghost orchestra. The three sousaphones play themselves, and appear to be floating. The machines, automated instruments, are the source of the music in a place where man and the gods are no longer around. These sousaphones were developed by Decap, specialists in the creation of automated musical instruments. They ‘play’ passages based on a theme from the Japanese anime film Ghost in the Shell and works by Erik Satie. Their rotating movements create a slow-motion Doppler effect, whereby sounds sometimes come together and then move apart again. In BRASS, Kris Verdonck continues his research into theatre without performers. Given the increasing technologisation of society and the destruction resulting from war and climate change, the possibility of a world without people has never been so likely. The sound nevertheless has human features: breathing, blowing, ‘practising’ and warming up. The instruments are suspended in a dark room, in a perpetuum mobile – their material gleams, but the body they normally rest on is no longer there.

    BRASS

    ACT // A Production of A Two Dogs Company, Het Zuidelijk Toneel(NL)

    06/02/2020 Ainsi, Maastricht(NL)
    12/02/2020 TR Schouwburg, Rotterdam(NL)
    13-15/02/2020 Kaaistudio's, Brussels
    18/02/2020 De Nieuwe Vorst, Tilburg(NL)
    21/02/2020 Toneelschuur, Haarlem(NL)
    25-26/02/2020 Frascati, Amsterdam(NL)
    27/02/2020 Corrosia, Almere(NL)
    17/03/2020 Het Nationaal Theater, Den Haag(NL)


    Theatre 

    In ACT, Kris Verdonck explores various aspects of the relation between the human on the verge of disappearing in the work of Samuel Beckett. ACT approaches Beckett in three ways: with a monologue with Beckett texts (Stories and texts for nothing), performed by Johan Leysen, with a scientist, invited to react to Beckett and with an autonomous scenography, a possible landscape for a Beckett text.
    The variety and multidisciplinary approach reflect the complexity of Beckett’s work and are at the same time an attempt to literally take apart this complexity. The triptych of Science, theatre and high-tech show, as in three acts, each a different facet of the diamond ‘Beckett’. They deepen each other’s experience: a particular way of performing brings a scientific insight to life and vice versa, a performative scenography zooms in on the underlying world of or perhaps after the actor and offers a more contemplative experience.

    beckettfoto 
    ©Zhu Naizheng

    SOMETHING (out of nothing)
     // A Production of  A Two Dogs Company (BE), ICK (NL) 

    10/01/2020 De Meervaart, Amsterdam(NL)
    08/02/2020 Westrand, Dilbeek

    Dance performance

    What is the place of the human in a world in which ecological catastrophe and technology are fundamentally challenging this position? The new performance by Kris Verdonck explores the physical and mental state of being in the face of an impending extinction.
    The combination of a merciless desire for profit and growth with technological developments, has reduced the human to a disposable object. Making the landscape in which we live inhabitable is the next step. What remains after social, economic and ecological elimination? The dancers wandering around in Something(out of nothing), are oftentimes not more than silhouettes or shadows. They are the ghosts that are the consequence of the destructive dynamics between humanity and the landscape, which in the performance is evoked by large inflatable sculptures, noise cello player Leila Bordreuil and a robot drum.
    Parallel to the performance, one or more installations are presented in a museum context. Performative objects will create a similar environment in the white cube as they do in the black box. Theatre flows over into the museum and back.

    Bas de Brouwer

    CONVERSATIONS (at the end of the world) // a production of A Two Dogs Company (BE), Het Zuidelijk Toneel (NL) and a coproduction with Kaaitheater (BE), Rotterdamse Schouwburg (NL), Fondation d’entreprise Hermès within the framework of the New Settings program (FR) 

    logoSignatureRVB

    14/01/2020 Cultuurhuis De Warande, Turnhout
    24/02/2020 SPOT/Stadsschouwburg, Groningen(NL)

    Theatre

    What do you say, do or make when the end is nigh? In Conversations at the end of the world, a new piece by Kris Verdonck / A Two Dogs Company for large auditoria, five figures find themselves in an empty theatre space. They have only their bodies, their capabilities and the time that is left to them. Together these five figures, played by Johan Leysen, Jan Steen, Jeroen Van der Ven, José Kuijpers and the renowned pianist Marino Formenti, create a portrait of humankind in the crazy twentieth century – a century in which man’s image has been significantly eroded and whose wounds we still carry with us today. Waiting for the catastrophe that is inevitably coming, or in the midst of it, they welcome the audience to ‘a last evening’. When faced with death, the characters react with boredom, panic, madness, lethargy, nonsense and absurdity. Their absurdity is fed by the crazy logic of the war, ecological disasters, and all kinds of crises. Despite being in shock, they try to understand what is going on outside, and it is this absurd reaction to a cruel reality that lies behind this new project.

    CONVERSATIONS
    ©Kurt Van der Elst
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