2019
Corinthe, 2057 was a performacne about so called end of the world, particularly the anthropocentric assumptions embedded within that concept. Through improvisations we have examined the end of humanity, morals and what does it mean to exist without future.
SYNOPSIS:
Sisyphus in the Ruins of Building-Europe
The prologue functioned as a temporal loop. A naked man climbed the stage carrying a stone; however, the stone did not roll back down on its own. Instead, Sisyphus was required to carry it downward himself, emphasizing the absurdity and futility of his condition.
NACHT OHNE ENDE
The first chapter imagined a group of people confined within an underground bunker following an unspecified catastrophe or war. The bunker was inhabited by: Scorpion, a diminished and ridiculed bon vivant; a despotic Duchess; Friedrich, afflicted by an unending migraine; and Papini, an enigmatic character who had chosen to live as a dog. Together, they formed a miniature society of surviving intellectuals who filled their excess of time with games of coercion and domination. The fragile equilibrium of this community was disrupted by the arrival of Norma, a blind girl from outside the bunker. Although her appearance revived hope, she could not confirm whether the outside world was safe. The return of hope ultimately proved destructive, triggering an escalation of violence. This section explored the psychological and emotional effects of isolation.
III
In the following part, as the stage was being cleared of blood and seemingly prepared for another generation of survivors, a woman wearing a superhero cape made from a perforated European Union flag delivered a monologue under fully illuminated auditorium lights. The text was adapted from Leszek Kołakowski’s essay The Eichmann Case (Casus Eichmanna), which examines individual responsibility. Her speech was gradually overwhelmed by the growing sound of Maurice Ravel’s Boléro.
EPILOGUE
As the music intensified, the dead characters returned to the stage and engaged in an ecstatic yet uncoordinated dance.
CREDITS:
Directing, concept and script: Mateusz Staniak
Set and costume design: Vienna Pieterse
Dramaturgy, research and script: Eefje van den Broek
Performance and script: Alex Hendrickx, Laura de Geest, Isabelle Kafando, Thomas van Luin, Giulia Reiss, Niek Vanoosterweyck* en Hidde Aans-Verkade
Music and sound design: George Dhauw
Light and video design: Grischa Runge
Production manager: Rick Busscher
Production assistant: Vasthi Hol
Set building: Frits van Driel
Technician: Kiki Heslenfel, Sanne Fransen, Jim Mulder en Nelis Meijer
First man: Rick Hendriks
Technical production: Bas de Bruin
Photos Robert van der Ree