abonneer

#183

08.09.2026

—

14.01.2027

Nieuwsbrief

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That question you will ask me [ENG]

Outside Eyes from Bangkok

What does theater in Thailand look like? For artist, curator, and festival director Sasapin Siriwanij, it’s a question that constantly keeps her mind spinning. You don’t talk about contemporary performance art in Thailand using the same language you would use in the Global North. For independent artists, there is virtually no funding, no well-equipped infrastructure, and no government support. But despite the endless cycle of exhaustion, a mysterious faith in and joy for art remains, she writes in her first column.  

Sasapin Siriwanij

column 02.04.2026

M.O.L. – Sara Oklobdzija / ROBIN / KVS

Spelen op het veld voor het veld / Playing on the Field, for the Field

In Double Take gaan twee Etcetera-auteurs naar een voorstelling en schrijven ze elkaar in het zog ervan een brief. Alina Savitskaya en Ugnė Noreikė schrijven elkaar na M.O.L. over aardappelen, integratie en de vraag of het cultuurveld bereid is zijn handen vuil te maken. “De patat die ik op het einde vasthield, woog zwaarder dan haar speech.” // In Double Take, two Etcetera authors attend a performance and write each other a letter in its wake. Alina Savitskaya and Ugnė Noreikė write to each other after M.O.L. about potatoes, integration, and whether the cultural sector is willing to get its hands dirty. “The potato I held at the end had more weight than her speech.”

Alina Savitskaya, Ugnė Noreikė

double take 19.03.2026

Nieuwsbrief

Theatre in suspension [ENG]

Outside Eyes from Teheran

Mid-February 2026, Tehran. Nearly a hundred productions are playing – from Medea to Antigone and Three Sisters. Meanwhile, thousands have been killed by the government, the internet has been shut down for weeks, and American warships are gathering in the Persian Gulf. Once again, the Iranian people are a pawn in a ruthless power game played by power-hungry despots. Isolated from the world, director Nasim Ahmadpour asks – in fragments, because nothing else is possible – what is to become of the arts many Iranians hold so dear, and what they still mean when the street has become a more dramatic stage than any theatre.

Nasim Ahmadpour

column 27.02.2026

Magritte – Ika Schwander

Wading in the river

A headless suit, disembodied legs, a floating apple: Ika Schwander brings Magritte’s uncanny imagery to life in this commissioned performance at KMSKA. Wading through his surrealist universe, Schwander stirs the waters of his founding trauma: the drowning of his mother. And in restaging that story, Schwander dismantles the myth of the lone genius: what if Magritte’s art equally belongs to his mother Régina, to his wife, to all of us?

Ugnė Noreikė

review 17.02.2026

Holy – Martha Canga Antonio

Whole or holy?

To call something holy is to give it a preciousness, to make it worth our uninterrupted attention. A morning routine can be non-negotiable, a dessert after dinner habitual, an afternoon with dear ones invaluable. But something holy seizes your whole being with force, with undeniable meaning, and it’s never self-inflicted. Experiencing holiness makes you forget yourself, and moves you from the individual to something greater, more united. How often do we experience this throughout the day? Not that often, I’d say. And yet, every waking moment on this earth is sacred and whole. This is not religious preaching, but a simple truth. If you ever just take a minute to realise all that needed to happen for you to be this combination of molecules, that’s simply miraculous. This is also true if we zoom out and see our being in the world as intertwined instead of individualistic. In Holy, Martha Canga Antonio guides us into sensing this sacredness by asking what it means to hold space for it.

Ugnė Noreikė

review 01.02.2026