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Images

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

Het Land Nod © Christophe Raynaud de Lage

 

Presentation

  • The rooms in some museums are like cathedrals, their dimensions seemingly chosen to intimidate us. Or, at the very least, to highlight our humble condition. It is true, for instance, of the Rubens room of the Antwerp Museum of Fine Arts, faithfully recreated by FC Bergman, who can't resist the pleasure of having the audience sit in it. It has visibly just been emptied of the works usually on display there; only Le Coup de Lance, too big to go through the door, remains. Deprived of its raison d'être—to house the Flemish master's paintings—it could be an Ark, a peaceful and quiet refuge in a troubled world. Yet this haven is inhabited by characters haunted by loneliness and absurdity. The watchman doesn't have much to watch over anymore; a guest faints in front of the remaining painting; a group of technicians and a curator desperately try to get her out... FC Bergman came up with the idea for this situation in 2015, when the renovation of the Antwerp museum was announced; they learned that the Rubens room—to which, like many of their fellow Antwerpians, they feel intimately connected—would be closed for about ten years. The shock caused by this vision inspired them a show of grandiose proportions, defined by its wordless atmosphere, in which the astounding differences of scale and the poetry of the situations sketch stubborn, fragile, and deeply moving human beings.

    FC Bergman
    Excessiveness is a beautiful setting for humanity. FC Bergman create huge spaces, at once very concrete and metaphorical, within which individuals struggle with the tragedy inherent to their condition. The six members of the Antwerp collective met while studying drama, before creating the company FC Bergman in 2008. Unafraid to recreate an entire village on the stage (300 el x 50 el x 30 el), to play on a vacant lot in the Antwerp port (Terminator Trilogie), to experiment with the genre of monumental musical theatre (Van den Vos), they have developed over their many creations a unique theatrical language, most often wordless, whose visual strength and power of evocation are striking. Now in their thirties, the six friends find inspiration in cinema, art history, and in the great stories, especially religious ones. 300 el x 50 el x 30 el was indeed about a community living in fear of an imminent deluge; the title of their last creation, The Land of Nod, is a reference to the place to which Cain was exiled after killing his brother Abel. Since 2013, FC Bergman have been associated with the Toneelhuis, in Antwerp.

  • Distribution

    Conception FC Bergman : Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten, Marie Vinck
    Sound FC Bergman, Diederik De Cock
    Lights FC Bergman, Ken Hioco

    With FC Bergman : Stef Aerts, Joé Agemans, Bart Hollanders, Matteo Simoni, Thomas Verstraeten, Marie Vinck

    Production

    Production Toneelhuis
    With the support of gouvernement of Flanders and Antwerp City
    With the help de PRG Belgium, AGFA Graphics, Musée royal des Beaux-Arts Antwerp

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