Voicing Pieces – Begüm Erciyas

My self as many

In Begüm Erciyas’ Voicing Pieces my voice initiates and becomes part of a complex theatrical apparatus, staged for one person: myself. My voice causes sheets of text to move, lights to fade in and out and change their direction. This theater enables me, visitor and performer all at once, to experience and encounter myself as a multiplicity, a ‘we’; the boundaries between the speaker, her voice and the ‘voice’ of the text subtly disappearing.

Marialena Marouda

review 31.05.2017

The documentary doubles of Milo Rau & the International Institute of Political Murder

Realistic rituals

The Swiss dramatist Milo Rau is causing quite a stir with his unique form of ‘research theatre’. He does not hesitate to recreate historical events as faithfully as possible, or to play around with notions of factuality, reality and representation. In what follows, we will take a closer look at three strategies Rau and his actors use to force entry into reality, along with the viewer.

Frederik Le Roy

essay 27.04.2017

A fig leaf in a child’s hand: Superdiversity in youth theatre

Tom Rummens

essay 24.12.2016

Failing to understand together: What is theatre seeking in current affairs?

From the ‘crisis play’ to the ‘memorial play’ to the ‘Syria play’. Current affairs are doing well in theatre. And yet this is not a matter of course for a medium that likes to invoke its slowness with regard to the flow of information that washes over us daily. But perhaps today, argues Kristof Van Baarle, we have a greater need for stories than for information.

Kristof van Baarle

review 24.12.2016

‘Doing what you want is a privilege, and a nightmare’

Choreographer David Hernandez on the ups and downs of being an artist

Annelies Van Assche

interview 20.12.2016

The myth called circus

“Sweet is the lore which Nature brings; Our meddling intellect Mis-shapes the beauteous form of things:— We murder to dissect.”   William Wordsworth

Bauke Lievens

open letter 07.12.2016

‘In what time do we live?’

Time and Distance in the Work of Toshiki Okada

In May 2016, Japanese writer and director Toshiki Okada presented his latest production, Time’s Journey Through a Room, at the Kunstenfestivaldesarts in Brussels. It immerses the audience in an altered experience of time. In Okada’s theatre, past, present and future are interlaced. He experiments with heterochronic time in order to question what it means to live in the ‘now’.

Sara Jansen

essay 25.11.2016