|Fri 3 March 2017 20:30||Frascati|
|Sat 25 February 2017 20:00||Compagnie de Koe|
|Fri 24 February 2017 20:00||Compagnie de Koe|
|Thu 23 February 2017 20:00||Compagnie de Koe|
|Wed 22 February 2017 20:00||Compagnie de Koe|
De Schrijver De Koning, with and after texts by Karl Valentin, a 90s offshoot of the theatrical evenings set up by the Belgian-Dutch repertory company De Vere (a collaboration between Discordia, STAN, and Dito'Dito), was the very first polycoproduction, a performance by and with Matthias de Koning and Damiaan De Schrijver. Several other polycoproductions have followed since, some of them together with de KOE and Dood Paard: My Dinner With André (1998), Vandeneedevandeschrijvervandekoningendiderot (2001), Onomatopee (2006), We hebben een/het boek(niet) gelezen (2008), and Beroemden (2012).
In the spring of 2017 Matthias de Koning, Damiaan De Schrijver, and Peter Van den Eede will present Atelier. After their study of the actor's profession in Vandeneedevandeschrijvervandekoningendiderot they will now pick it up again in Atelier. Do theatre makers have a studio, just like sculptors and painters, a place where their ideas may or may not take shape, and if so, what does that studio look like? What type of work do we do, where and how and when and why? Is it work? How do we portray characters? What do we emphasise? Are we a display? Are we our own and each other's model? Are we a self-portrait? Looking and being looked at, history, art, life as frames, mounts, edgings for the displays on the canvas of our skin. Rebuilding and then demolishing the fourth ‘walls’ in a bifrontal or quadrifrontal setting. A laboratory investigation into naturalism, realism, hyperrealism.
Large windows casting cold October light onto our innermost feelings. Wrapping up air. Sanding down wooden planks. Eating potatoes. Cooking mussels. Pissing beside the urinal. Writing a farewell letter. (being labelled) Removing an appendix. Sitting. Someone rings the bell. A door. A chink. A spot. A raft. Pitch-dark. A raft.
When the Flemings take off
The most mysterious thing about this strange ceremony, which resembles a barmy playtime but whose clockwork precision is essential, is that the time passes so quickly. Without a word. Without the audience understanding everything. Without them always being convinced. And without the actors themselves giving the impression they know where they are going! That is the Flemish genius at its best.
Armelle Héliot, Le Figaro, 5 October 2018
And did we dream it, or did we really see those three men conjure up fleeting images of chefs-d’oeuvre: Breugel’s line of blind men, David’s Marat in the bathtub, Magritte’s pipe, Marcel Duchamp’s urinal and so on and so forth? Are we to understand that man is simply chaos creating chaos, capable only of having the occasional perfect forms emerge, as if by accident?
Once again the Flemish collectives tg STAN, de KOE and Maatschappij Discordia have come up with an unconventional show of clockwork precision, which, behind its grotesque exterior, says as much as a play by Brecht…
Jean-Luc Porquet, Le Canard Enchaîné, 10 October 2018
Step inside the theatre factory with a priceless burlesque trio
The spectators laugh heartily, but they are also moved by this shambolic concoction of brilliant but simple ideas, staged so as to give us the chance to explore behind the scenes of the production, which is as magical as the production itself. And when the end comes, the spectators conclude that those three oddballs are very, very good. Because they are so intelligent without showing it. So magnanimous without flaunting it. And because they allow us share the jollity.
Marie Plantin, Pariscope, 10 October 2018
by and with Matthias de Koning, Damiaan De Schrijver, Peter Van den Eede
production STAN, de KOE and Maatschappij Discordia
technique Bram De Vreese, Tim Wouters and Pol Geusens
costumes Elisabeth Michiels
special thanks to Steen en Been, Marlene De Smet
première March 15th, Théâtre Garonne, Toulouse