Barbara Van Lindt
Eind mei zat ons land volop in lockdown. Die wierp zowel voor de podiumkunsten als voor de meeste vormen van politiek activisme serieuze obstakels op. Sébastien Hendrickx, zelf dramaturg en milieuactivist bij Extinction Rebellion, stelde zich vragen bij de verhouding tussen de twee praktijken.
Luanda Casella considers the role of language in the way we experience and mediate the world around us and how the implicit violence of language can subjugate, control and diminish us in our daily lives. Resistance to this linguistic violence is an imperative we cannot ignore. Casella embodies this resistance in her work, in radical storytelling, in generating meaning in non-traditional ways, in the making of her latest performance piece Killjoy Quiz.
Anyone growing up today has little difficulty imagining the end of the / a world. Our unbridled patterns of consumption fuel extreme global warming and ruthless pandemics, among other things. A virus or climate catastrophe could, in the ‘worst’ case scenario, wipe out the entire human race, but it also shakes ideologies, societies and worldviews. How can theatre deal with such an end times sensation? And shouldn’t the theatre tap into its mystical origins again to do so? Kristof van Baarle talks about this in reference to works by Kris Verdonck and Michiel Vandevelde, two makers with whom he himself collaborates as a dramaturge.
Kristof van Baarle
Last year, something snapped in the Kenyan performance artist Ogutu Muraya, who at the time was living in Amsterdam. He decided to stop applying for European visas and return to Nairobi. His decision was motivated by a desire to ‘go beyond Europe’, to free his imagination, to transcend internal limits rather than merely trying to cross physical borders. In this text, he tells us how he intends to continue his artistic practice and maintain his presence – but strictly on his own terms.