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We 17 Oct 2007
20.30
premiere French version
Brussels
KVS / Théâtre National

+32 2 2101112
website
Th 18 Oct 2007
20.30
Brussels
KVS / Théâtre National

+32 2 2101112
website
Fr 19 Oct 2007
20.30
Brussels
KVS / Théâtre National

+32 2 2101112
website
Tu 11 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
We 12 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Th 13 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Fr 14 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Sa 15 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Tu 18 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
We 19 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Th 20 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Fr 21 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Sa 22 Dec 2007
21.00
Paris
Théâtre de la Bastille / Festival d'Automne

+33 1 43574214
website
Tu 8 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
We 9 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Th 10 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Fr 11 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Sa 12 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Tu 15 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
We 16 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Th 17 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Fr 18 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Sa 19 Jan 2008
20.30
Paris
Théâtre de la Bastille

+33 1 43574214
website
Su 20 Jan 2008
17.00
Paris
Théâtre de la Bastille

+33 1 43574214
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Tu 29 Jan 2008
20.00
Toulouse
Théâtre Garonne

+33 5 62485477
website
We 30 Jan 2008
20.00
Toulouse
Théâtre Garonne

+33 5 62485477
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Th 31 Jan 2008
20.00
Toulouse
Théâtre Garonne

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Fr 1 Feb 2008
20.30
Toulouse
Théâtre Garonne

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Sa 2 Feb 2008
20.30
Toulouse
Théâtre Garonne

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Mo 4 Feb 2008
20.30
Aix-en-Provence
Théâtre Antoine Vitez

+33 4 42599437
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Tu 5 Feb 2008
20.30
Aix-en-Provence
Théâtre Antoine Vitez

+33 4 42599437
website
Mo 11 Feb 2008
19.30
Lyon
Le Point du Jour

+33 4 78150180
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Tu 12 Feb 2008
20.30
Lyon
Le Point du Jour

+33 4 78150180
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We 13 Feb 2008
19.30
Lyon
Le Point du Jour

+33 4 78150180
website
Th 14 Feb 2008
19.30
Lyon
Le Point du Jour

+33 4 78150180
website
Fr 15 Feb 2008
20.30
Lyon
Le Point du Jour

+33 4 78150180
website
Th 13 Mar 2008
20.30
Strasbourg
Le Maillon / Wacken

+33 3 88276181
website
Fr 14 Mar 2008
20.30
Strasbourg
Le Maillon / Wacken

+33 3 88276181
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Sa 15 Mar 2008
20.30
Strasbourg
Le Maillon / Wacken

+33 3 88276181
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Mo 17 Mar 2008
20.30
Geneva
Théâtre Saint Gervais

+41 22 9082020
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Tu 18 Mar 2008
20.30
Geneva
Théâtre Saint Gervais

+41 22 9082020
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We 19 Mar 2008
20.30
Geneva
Théâtre Saint Gervais

+41 22 9082020
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Th 20 Mar 2008
19.00
Geneva
Théâtre Saint Gervais

+41 22 9082020
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Fr 21 Mar 2008
20.30
Geneva
Théâtre Saint Gervais

+41 22 9082020
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Tu 18 Nov 2008
20.30
Arles
Théâtre d'Arles

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We 19 Nov 2008
20.30
Arles
Théâtre d'Arles

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Fr 21 Nov 2008
20.00
Dijon
L'Opéra de Dijon

+33 3 80488282
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Sa 22 Nov 2008
20.00
Dijon
L'Opéra de Dijon

+33 3 80488282
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Tu 9 Dec 2008
19.30
Nice
Théâtre de Nice

+33 4 93139090
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We 10 Dec 2008
20.30
Nice
Théâtre de Nice

+33 4 93139090
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Tu 19 May 2009
20.30
Dunkirk
Le Bateau Feu

+33 3 28514040
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We 20 May 2009
19.00
Dunkirk
Le Bateau Feu

+33 3 28514040
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Tu 9 Jun 2009
21.30
Nîmes
Théâtre de Nîmes

+33 4 66366510
website
We 10 Jun 2009
21.30
Nîmes
Théâtre de Nîmes

+33 4 66366510
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Th 28 Oct 2010
19.30
Sarajevo
MESS International Theatre Festival

+387 33 200 392
website
We 3 Nov 2010
21.30
Cavallerizza Reale, Maneggio
Turin
Fondazione del Teatro Stabile di Torino

+39 11 5169411
website
Th 4 Nov 2010
21.30
Cavallerizza Reale, Maneggio
Turin
Fondazione del Teatro Stabile di Torino

+39 11 5169411
website
Th 18 Nov 2010
20.30
Pau
ESPACES PLURIELS

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20.30
Pau
ESPACES PLURIELS

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Fr 3 Dec 2010
20.30
Charleroi
L'Eden / ism L'Ancre

+32 71 314 079
website
Sa 4 Dec 2010
20.30
Charleroi
L'Eden / ism L'Ancre

+32 71 314 079
website
But after it had all happened, there was
chaos here. And a room that had
been completely ruined, and in that room
there were four dead men and
a name! And a door bearing
an unintelligible inscription.
But all of you, just look
at the whole. Whatever happened, we
positioned it in time in the right
order at the right places and
in the right words, that were
indeed spoken. And whatever you will see,
see at the end, it is what we saw:
chaos. And a room that is
completely ruined, and in that room
four dead men and
a name. Or three men who walk out the door
to go arrange matters
that are important to mankind
and a dead man
who is not dead yet, and in front of him
a door bearing an unambiguous inscription.

Bertolt Brecht

Jolente De Keersmaeker, Sara De Roo, and Damiaan De Schrijver perform a sequel to Alles is rustig ( All is Quiet ), a work in which Thomas Bernhard fulminates against the complacency of the intellectual and cultural elite.

Alles is rustig toured for five years in Belgium, the Netherlands, Germany, France, Portugal, Switzerland, Austria, and Italy, in both a Dutch and a French version. This inspired the performers to present other pieces by Bernhard.

Their first choice was Am Ziel (1981), but in the end they only kept one sentence from this work - which has now become the title of the new performance: « "Sauve qui peut" pas mal comme titre » ( ""Devil take the hindmost" not a bad title" ), a combination of several of the author's Dramoletten.

Even more explicitly and ruthlessly than in Alles is Rustig , Bernhard dissects in these 'miniature dramas' the difficult Nazi past of the German people, something they still haven't come to terms with, as well as the latent fascisme in contemporary society.

« "Sauve qui peut" pas mal comme titre »
is the second part of what is to become a Bernhard trilogy.

The five sketches are compressed into a neat structure. Each is preceded by a dressing-up session by the three actors and followed by a stylish bow. Music is heard in-between, especially the Radetzky March. Another important characteristic of style is that of resistance. Stan rarely if ever performs in a neatly ordered stage set. The tarpaulin which is brought down at the start of the play falls over the clutter on the stage floor. Now and then Damiaan dives under the tarpaulin to retrieve the vital props. This provides ten highly comical scenes, particularly when he fumbles with a folding table with amazing ineffectiveness. The actors stumble as they constantly fight their way through the mountain of clutter: a fine metaphor for the ups and downs of life. 
Stumbling through life , Haarlems Dagblad, Margriet Prinssen, 25/02/05 

At times the long-drawn-out bungling with a folding table or with items of clothing threatens to allow the rhythm of the play to deteriorate into cheap ‘props theatre’ in which a sudden burst of laughter is designed to conceal its pointlessness. But appearances are deceptive: both the playing with the props and the irritation it arouses serve a purpose. With their grotesque dressing-up sessions between scenes the actors steer the play towards an operetta-like gaiety which serves to sharpen the scented spuriousness of the Viennese waltz with officers in full dress uniform and ladies in stays.
War brings no salvation , Knack, Wim Smets, 23/03/05

The dressing-up is enough in itself! Each new section begins with the actors donning an elaborate new costume. They help each other in time to the music and then brazenly display yet another very fine outfit, before throwing themselves with total abandonment into the Thomas Bernhard sketches. Long monologues, poetical repetitions, litanies of human powerlessness.  And in staging this inveterate grouser who ridicules his fellow countrymen’s Nazi past with deadly seriousness, STAN strikes just the right note. The seriousness of the subject is treated with mild light-heartedness, but the way the actors laugh off their troubles in piercingly high tones, cuts to the quick.
Boisterous miscellany of Bernhardian humour , de Volkskrant, Marjan Buijs, 02/04/05

Fear of the outsider lurks close to the surface. Chaos (i.e. social integration) is just round the corner. Nicely symbolised by a vast tarpaulin hanging over the stage like an inglorious sword of Damocles, it falls messily and creates a clumsy assault course. The satire flows from cruel interweaving of petty detail, offhand references to atrocities, revealing remarks that tail away. Orchestrated bourgeois clucking is punctuated by outrageous outbursts. Inconvenient truths are smugly airbrushed by beady-eyed bigots, darting poison with every peck.
'Sauve qui peut', pas mal comme titre , Financial Times, Clare Shine, 08/01/08


text after 'Dramolette' ( Eis, A Doda, Match, Freispruch and Maiandacht ) by Thomas Bernhard
with Jolente De Keersmaeker, Sara De Roo and Damiaan De Schrijver

advice Matthias de Koning
costumes Inge Büscher
assistence costumes Filip Eyckmans
lighting design Thomas Walgrave
French translation Claude Porcell

many thanks to Martine Bom, Laurence D'Hondt and Gerhard Jäger

production tg STAN
coproducers of the French version KVS/Théâtre National (Brussels), Théâtre de la Bastille and Festival d'Automne (Paris)

premiere 16 February 2005, Kaaitheater, Brussels
premiere of the French version 17 October 2007, KVS/Théâtre National, Brussels