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    • GRENSGEVAL (BORDERLINE)

    • Theatre - Dance / Show
    • GRENSGEVAL (BORDERLINE)

    • Theatre - Dance / Show

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Images

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

Grensgeval (Borderline) © Christophe Raynaud de Lage

 

Presentation

  • A group of refugees are crossing the Mediterranean. Risking their lives in makeshift boats, they only encounter mistrust once they reach the other shore; an ambiguous world plagued by its own fears and questions, at once concerned and powerless to do anything. Guy Cassiers, director of the theatre of Antwerp, the Toneelhuis, has chosen to adapt Elfriede Jelinek's engaged and provocative text and to collaborate with choreographer Maud Le Pladec to question our relationship to the other and our capacity for understanding. “We can only, in reality, talk about ourselves.” If this is a topical subject, its representation is made possible thanks to the distance theatre and dance create, and to the dreamlike quality of the images and the violence of the words of the Austrian writer, which echo great mythological texts about population movements and negotiations about the notion of welcome. Divided into three movements, the text and the scenic creation reflect those long, nightmare-like journeys through language and space, “to the point that the audience loses the thread, no longer able to distinguish who's talking between European and refugees, because words meld until arises a certain schizophrenia that's symbolic of our society.” The general feeling of powerlessness then becomes almost tangible.

     

    Guy Cassiers
    After studying visual arts at the Royal Academy of Fine Arts in Antwerp, Guy Cassiers focused on creating a dramatic language with a strong visual and sensorial identity. Adapting and directing non-dramatic texts allowed him to grapple with a language that is often politically-charged. He is now the director of the Toneelhuis in Antwerp, the great Flemish theatre in Belgium, which he leads with the desire to share his creative process with artists from diverse backgrounds: visual artists, choreographers, video makers, and writers. Guy Cassiers's theatre explores the history of Europe, and particularly the discourse about it and the sociopolitical forces that vie for dominance, always focusing first and foremost on the human dimension of those stories. Guy Cassiers is a regular at the Festival d'Avignon, where he has presented many of his plays: Rouge décanté (Decanted Red) in 2006, Mefisto for ever in 2007, then Wolfskers and Atropa. The Revenge of Peace in 2008, Musil's The Man Without Qualities in 2010, Blood & Roses. The Song of Joan and Gilles in the Cour d'honneur in 2011, and Virginia Woolf's Orlando in 2013. He will present two shows at the 71st edition of the Festival, Grensgeval (Borderline) and Le sec et l'humide (The Dry and the Wet), based on Jonathan Littell's writings about Waffen-SS Léon Degrelle.

     

    Maud Le Pladec
    Maud Le Pladec joined in 1999 the ex.e.r.ce course at the National Choreographic Centre in Montpellier, directed by Mathilde Monnier. She then started performing with many choreographers, including Takiko Iwabuchi, Guillermo Bothello, Boris Charmatz, and Herman Diephuis. A desire for collaboration and research is ever present in her work: she created the collective Leclubdes5 with Mickaël Phelippeau, Typhaine Heissat, Virginie Thomas, and Maeva Cunci, has worked with composer Fausto Romitelli for the diptych Professor (which received the prix de la révélation chorégraphique from the syndicat de la critique) and Poetry, Ominous Funk, and Demo with the collective Bang on a can, as well as Democracy with the Ensemble TaCtuS. Her first collaboration with Guy Cassiers dates back to 2015, with Xerse, created for the Opéra de Lille. Since June 2016, Maud Le Pladec has been the director of the National Choreographic Centre in Orléans.

  • Distribution

    Text Elfriede Jelinek / Traduction Tom Kleijn
    Direction Guy Cassiers
    Choreography Maud Le Pladec
    Dramaturgy Dina Dooreman
    Stage design, costumes Tim van Steenbergen
    Lights Fabiana Piccioli
    Video Frederik Jassogne
    Sound Diederik De Cock

    With Katelijne Damen, Abke Haring, Han Kerckhoffs, Lukas Smolders
    And the dancers Samuel Baidoo, Machias Bosschaerts, Pieter Desmet, Sarah Fife, Berta Fornell Serrat, Julia Godino Llorens, Aki Iwamoto, Daan Jaartsveld, Levente Lukacs, Hernan Mancebo Martinez, Alexa Moya Panksep, Marcus Alexander Roydes, Meike Stevens, Pauline van Nuffel, Sandrine Wouters, Bianca Zueneli

    Production

    Production Toneelhuis
    Co-production Festival d'Avignon, Le Phénix Scène nationale de Valenciennes, Centre chorégraphique national d'Orléans, La Filature Scène nationale de Mulhouse, Centre dramatique d'Orléans / Scène nationale d'Orléans
    In collaboration with the Conservatoire royal d'Anvers formation danse AP Hogeschool
    With the support of the city of Antwerp, Onda fot the 71st edition of the Festival d'Avignon

    Les Suppliants by Elfriede Jelinek, translation Magali Jourdan and Mathilde Sobottke, is published by Editions de L'Arche.

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