CONVERSATIONS (at the end of the world)
A Two Dogs Company & Het Zuidelijk Toneel
dates
Sat 14.03, 01:05
location
DE SINGEL
duration
120 min.
language
Dutch spoken | surtit. ENG
Info
In CONVERSATIONS (at the end of the world) we see five figures in a terminal situation. They find themselves in an empty theatre. The only thing that they have is their body and the time that is left to them. Together they constitute a portrait of mankind in the twentieth century, waiting for the unavoidable catastrophe that is to come. They talk to one another, tell stories, perform a dance and listen to music. Texts by the Russian writer Daniil Charms make up the core, and these are supplemented by conversations that Charms had with his artistic peers.
Kris Verdonck’s work gets under your skin, it asks something of you, and it never leaves you unmoved. CONVERSATIONS (at the end of the world) is performed by the leading actors José Kuijpers, Jan Steen, Johan Leysen, Jeroen Van der Ven and the renowned pianist Marino Formenti.
Credits
concept & direction Kris Verdonck | performers Marino Formenti, José Kuijpers, Johan Leysen, Jan Steen & Jeroen Van der Ven | dramaturgy Kristof Van Baarle | artistic advice Piet Menu | costumes Eefje Wijnings | light design Jan Van Gijsel | assistant dramaturgy Charlotte De Somviele | technical coordinator Stan Bannier | technique Victor Hidalgo & Dick Huetink | production A Two Dogs Company & Het Zuidelijk Toneel | coproduction Kaaitheater, Rotterdamse Schouwburg & supported by the Fondation d’entreprise Hermès within the framework of the New Settings program | with the support of: European Commission: Imagine 2020 ‘Art & Climate Change’, Tax Shelter scheme of the Belgian Federal Government, the Flemish Authorities, the Flemish Community Commission
Jury
In CONVERSATIONS (at the end of the world) Verdonck masterfully walks the tightrope between indifference and cruelty.
—Jury report
Pers
In these long, silent moments, the boundary between theatre and visual art evaporates and you are confronted with hushed tableaus that are disconcertingly beautiful.
—De Morgen