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1767 Mal gesehen
Datum der Aufzeichnung: 06.03.2015
Ort: TQW / Halle E
Im Rahmen von: Austrian première
»This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.«
(The Hollow Men, T.S. Eliot)
A woodland clearing, many small huts arranged in a semicircle – what is happening inside the humble dwellings is conveyed exclusively on the screen that hangs above the scene. Only the camera will tell us about what the inhabitants are doing inside the cottages. And so just the narrative layers of events on stage and in film themselves tell of distance, insularity and a Godot-like waiting, to which the characters of this "play about what one does not see" fall prey. The film component constructs an emotional distance, allows the individual fates that reach us from the huts appear distance and precisely as a result permits a fateful closeness between us – the audience – and the people of the village, who persist in the entity of their huts and their lives.
In this work FC Bergman deals with the feasibility of life and the feasibility of society. A generation of non-utopians is shown the fight against windmills – the focus is on the beauty of "eternal striving, eternal failure". This beauty is surrounded by referential images that unites the village community in religious dynamics, in fears and a hopeless search for meaning.
»We want to do a project about people who are trying to shape their lives, and repeatedly fail.« (FC Bergman)
References invoke paintings by Magritte, films by Buñuel and the eponymous group’s Ingmar Bergman. Religion reveals itself through the symbolic – the snake, the dead lamb – and mortal sins rule inside the huts. As insatiable as a greedy woman is, who throughout the work fills her hungry mouth, just as little heard are also the desires of the other figures we encounter here. A love story between a soldier and a young girl from two of the huts weaves itself into the middle of this – a Don Quixote story on tip-toes against the windmills of fear. But this story too must fail – and nevertheless the pair’s attempt to escape means a shock. This may be one of the components that ultimately open up spaces and put the absolute in its place.
The Belgian theatre group FC Bergman comprises six artists – Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten and Marie Vinck. Together they have developed their very own theatrical language, which is anarchic, slightly chaotic, but above all visual and poetic. Instead of words they use images, tell stories, but completely without dramatic narrative, and they often design their works as happenings. The live aspect of their performances is very important to them. In their earlier productions, the focus was frequently on the struggling individual.
BY AND WITH: FC BERGMAN - Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten, Marie Vinck
GUEST ACTORS: Wom Verachtert, Paul Kuijer, Herwig Ilegems, Gert Portael, Cedric Van Den Abbeele, Shana Van Looveren, Julia Akkermans, Bien De Moor, Gert Winckelmans, Ramona Verkerk, Greg Timmermans, Luc Agemans, Maurice Luijten
WITH: 58 Extras from Vienna
VIDEO: Diederik Hoppenbrouwers
CAMERA: Thomas Verstraeten
DECOR: FC Bergman
LIGHT: Henk Vandecaveye
SOUND: Roel Snellebrand
COSTUME: Judith Van Herck
PRODUCTION MANAGER: Celine van der Poel
PRODUCTION: FC Bergman Toneelhuis
WITH THANKS TO: wp Zimmer, Matthijs Kuijer, Lieven Slabbinck, Hugo Moens, Eric Biebauw, Slagerij Vandewalle, Anke De Pooter, Mol Mertens, Ilse Michiels, Diego Dezuttere