Organization

Direction d'orchestre

Mathias Weibel

Mise en scène

Thom Luz

Décors

Frieda Schneider

Costumes

An De Mol

Dramaturgie

Carmen Hornbostel

Kaatje De Geest

Direction Assistant

Katelijne Laevens

Trainee Set Designer

Eden Van Kerrebroeck

Chanteur

Marijke Pinoy

Performers

Olga Kunicka

Isaak Duerinck

Ewout Lehoucq

Muziektheater Transparant

Theater Immobiel

Hanovre

Allemagne

Herrenhausen

Anvers

Belgique

Bourla Schouwburg

Gand

NTGent

Bruxelles

KVS Brussel

Public

néerlandais

anglais

Valide

Thom Luz over ‘Maison Maeterlinck / Theater Immobiel’

Maison Maeterlinck/Theater Immobiel

De zoektocht naar een hedendaags immobiel theater.aan de hand van muziek en Maeterlinckiaanse teksten.

Het lijkt alsof er geen verschil is tussen de levenshouding van vandaag en het sentiment van de vroege 20ste eeuw, dat de Gentse Nobelprijswinnaar voor literatuur, Maurice Maeterlinck, beschrijft in zijn mysterieuze, symbolistische teksten. Zijn enige antwoord: ‘stilstaan, zwijgen, misschien zingen.’ De Zwitserse theatertovenaar Thom Luz gaat aan de hand van muziek en Maeterlinckiaanse teksten op zoek naar een hedendaags immobiel theater.

Nederlands

For his first Belgian production, Swiss theatre magician Thom Luz uses music and texts from the Ghentian Nobel Prize winner Maurice Maeterlinck, in the search for a contemporary 'Theater Immobiel'. How prophetic is Maeterlinck's thought construct of an immobile theatre in view of our current society and its permanent state of motion?

No time has passed in a hundred years: feelings of impending doom, exhaustion from the speed of technical development, hopelessness. It seems as if there is no difference between today's attitude towards life and the sentiment of the early 20th century, which the Ghent Nobel Prize winner for literature Maurice Maeterlinck describes in his mysterious, symbolist texts.

Swiss director Thom Luz, in whose oeuvre music always plays the leading role, digs deep into Maeterlinck's work for Maison Maeterlinck / Theater Immobiel. At the centre of his pieces and poems is the human being and its helplessness in the face of death - always in search for a form of redemption through the power of poetry. Maeterlinck's characters are unable to communicate, caught in a state of paralysis, sighing or repeating trivialities. This motionless theatre is the only adequate form to explore life’s unfathomable mysteries, Maeterlinck fantasized years before Samuel Beckett was born.

How prophetic is Maeterlinck's thought construct of an immobile theatre in view of our current society and its permanent state of motion? How do our immobile theatre spaces relate to their extraordinarily moving inner life? For a theatre is not only a temple of dreams, but also a simple house. A piece of real estate, often in a prime location in the city, which stands empty when the audience stays away or has disappeared from the earth altogether. Maeterlinck already considered this case in his theatre theory: "Perhaps it would be necessary to keep even all living things away from the stage altogether, in order to get hold of the truth properly."

English

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