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Fri 9 February 2018 20:00 Théâtre de la Bastille

http://www.theatre-bastille.com/

Thu 8 February 2018 20:00 Théâtre de la Bastille

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Wed 7 February 2018 20:00 Théâtre de la Bastille

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Tue 6 February 2018 20:00 Théâtre de la Bastille

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Mon 5 February 2018 20:00 Théâtre de la Bastille

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Fri 2 February 2018 21:00 Théâtre de la Bastille

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Thu 1 February 2018 21:00 Théâtre de la Bastille

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Wed 31 January 2018 21:00 Théâtre de la Bastille

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Tue 30 January 2018 21:00 Théâtre de la Bastille

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Mon 29 January 2018 21:00 Théâtre de la Bastille

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Sat 27 January 2018 21:00 Théâtre de la Bastille

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Fri 26 January 2018 21:00 Théâtre de la Bastille

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Thu 25 January 2018 21:00 Théâtre de la Bastille

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Wed 24 January 2018 21:00 Théâtre de la Bastille

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Tue 23 January 2018 21:00 Théâtre de la Bastille

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Sat 13 January 2018 19:00 Théâtre Saint-Gervais

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Fri 12 January 2018 20:30 Théâtre Saint-Gervais

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Thu 11 January 2018 19:00 Théâtre Saint-Gervais

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A production based on the plays ‘Sleep My Baby Sleep’ by Jon Fosse and ‘A Piece of Plastic’ by Marius von Mayenburg.

Jon Fosse (Haugesund, Norway, 1955) is one of Scandinavia’s most famous writers and most-performed dramatists.  His plays are staged all over the world. ‘Sleep My Baby Sleep’ is a real gem. The play is representative of Fosse’s style and approach: fragmented dialogues in which the rhythm and the sound come before the meaning, pared down sentences with an underlying poetry and emotional tension which confine and destabilize the spectator and at the same time give him space and comfort.    

‘A Piece of Plastic’ is the most recent play by Marius von Mayenburg (Munich, °1972), dramaturge and playwright-in-residence at the Berliner Schaubühne am Lehniner Platz since 1999.  It was written as a comedy with the theatrical structure of conventional boulevard theatre, but then seriously unhinged boulevard theatre…

The main story line is straightforward enough: the overworked Ulrike and her husband Michael, a left-liberal, environmentally- and politically-aware couple, at least in theory, employ Jessica as a domestic help and to look after their son who is hitting puberty prematurely.  Jessica’s presence affects the reality of this family on various levels. The ideals of tolerance and broadmindedness are undermined, good intentions prove to be futile attempts to deny underlying prejudices and the couple’s sterile reality is exposed. Then there is the conceptual artist Haulupa who like a gadfly tries to disrupt the family ideal.  The result is a malicious comedy, which expertly challenges our views and opinions about family, art and society.  With painful accuracy, Marius von Mayenburg takes us straight to the nub of our first-world dilemmas and problems…

 

“I understand so little. And as the years pass, I understand less and less. It is true. But the opposite is also true, that as the years pass I understand more and more. Yes, it is also true that as the years pass I understand a great deal, an almost frightening amount. As a matter of fact, I feel almost faint at how little I understand and almost frightened at how much I understand. How can it be that both things are true, that I simultaneously understand less and less and more and more? (Jon Fosse, ‘The Gnosis of Writing’)

“I always try to write about things that irritate me. I try to write about things I know about.” (Marius von Mayenburg)

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quoi-maintenant trailer

tg STAN, théâtre flamand passé au français
Frank Vercruyssen talks about Quoi/Maintenant to RTS, January 9th 2018

A Genève, le tg STAN va secouer les consciences
Jolente De Keersmaeker talks about Quoi/Maintenant to Marie-Pierre Genecand from Le Temps, January 10th 2018

Reflets d'ors dans un miroir belge
Katia Berger, Tribune de Genève, January 15th 2018

A bourgeois party
“One of the staunch devotees of the Bastille Theatre, the Flemish theatre company tg STAN has returned with a ferocious comedy, a shooting gallery of upper-middle-class figures, under the enigmatic title of “Quoi/Maintenant” (What/Now). With no staging or any of the contrivances of the theatre – as is their custom, they focus everything on the actors’ craft.”
Rue du Théâtre, 25 January 2018

tg STAN blows class contempt to pieces
“Frequently funny, sometimes downright hilarious, the dramatic situations of this malleable play benefit from the assurance of tg STAN, who have the ability to make every line sound natural, and make the most carefully-worded script sound like improvisation. They also have the ability to navigate from an intensely comic register to a more dramatic gravity, and to expose the flaws of a family in which a profound malaise is brewing, concealed beneath a social veneer: a dramatic collapse waiting to happen. In spite of a few script hesitations which will be ironed out over time, the Flemish company proved that they are still among the leaders of the theatre scene.”
Vincent Bouquet, Sceneweb, 26 January 2018

Scenes from daily life in the upper middle class
“Jon Fosse has dropped a poetic little bomb that leads to nothing (since we are nothing) except to repetitive questions that are all the more biting since they are asked by actors who know how to surf a wave of ridiculed anxiety. In an exercise like this, the members of the theatre company tg STAN crush the competition, playing with words like Neymar plays with a football.”
Jack Dion, Marianne, 26 January 2018

“Quoi/Maintenant”: tg STAN launches an attack on false pretences
“The theatre company tg STAN have no equal in their ability to merge registers, combining dramatic depth and corrosive levity. The bold and successful combination of a text by Jon Fosse and a play by Marius von Mayenburg in their production “Quoi/Maintenant” serves to highlight their prodigious talent.”
Vincent Bouquet, Les Echos, 26 January 2018

Quoi / Maintenant, a tg STAN production at the Bastille Theatre
“Tg STAN have never been so much in their element as in this crazy, schizophrenic world which quickly falls apart, and which they in turn tear to pieces with skill and evident enjoyment. With this ease of manner, this power the actors have of never making a big deal out of anything; even in the midst of hysteria they wear the most innocent expressions, and appear to still be in the process of finding their marks and learning their lines, even if it means leaving a gap – real or pretend – as happened tonight, when they dove into the booklet before resuming the scene, beaming, with a burst of laughter that rippled through the audience. It’s their way of criticising theatricality, these constant little side-steps which are their trademark – but better still, they hold the audience in the palm of their hands and carry them right to the heart of the play: its most delicate issues, its language wielded like a dagger.”
Denis Sanglard, Un Fauteuil Pour l'Orchestre, 26 January 2018

“QUOI / MAINTENANT” (WHAT/NOW):TG STAN’S BOURGEOIS ANTI-BOURGEOIS THEATRE
“The actors in the tg STAN company are extremely funny; but with each burst of laughter, we wonder whether we shouldn’t be crying instead. This kind of guilty hesitation, which spreads throughout Quoi / Maintenant (Now What?), comes from the fact that in almost every case, the company puts its most faithful audience on the stage – namely, middle-class intellectuals. These rusty voices displayed on the stage, strong and at the same time stumbling, are in reality our own. We shouldn’t laugh along with tg STAN. We should fear them.”
Simon Gerard, Toute la culture, 26 January 2018

Quoi/Maintenant (Jon Fosse / Marius von Mayenburg / tg STAN / Bastille Theatre)
“We manage to be surprised all the same (...) by the texts chosen by the company (...) and by the freedom of the acting which appears unscripted.”
Axel Ito, (ceci n'est) Pas une critique, 27 January 2018

"Quoi/Maintenant”, a brilliant satire of an upper-middle-class family
“The high-energy performances of the theatre company tg STAN are filled with a kind of caustic harmony. They scratch but don’t attack, they dissect but make us laugh. The social havoc takes place against a backdrop of discourse on art, the devastation at the heart of the couple is revealed through a glass of white wine in the hand, a child’s sadness is smoothed away by nail polish, and the deceptions of a form of contemporary art preposterously trample reality. The audience, particularly its younger members, grin at each other, sharing their delight; they gloat, and wonder in gleeful whispers what all this is supposed to represent today. Quoi/Maintenant (What/Now) displays an undeniable cruelty with the overtones of a modern Labiche, enriched through the special talents of tg STAN with a deliciously corrosive tinge.”
Emilie Darlier, Artistik Rezo, 27 January 2018

Class struggle in a protected environment
“With tg STAN, nothing is what you expect; they have mastered the art of mystification. They make you think they’re improvising, that they’re acting without a script; they appear to stretch out dramatic time, breaking up the rhythm in order to invent a better one; they play around with conventions and create a convivial closeness with their audience. In doing so, with a mixture of talent and nerve they extract the pure nectar from Mayenburg’s corrosive social comedy, which takes on a tragic and existential dimension right from the prologue.”
Corinne Denailles, WebThéâtre, 28 January 2018

Quoi/Maintenant by Jon Fosse and Marius von Mayenburg
“It’s as funny, scathing and cruel as you could wish. We’re always up for a little taste of tg STAN’s work.”
Alicia Dorey, Les 5 Pièces, 29 January 2018

Quoi/Maintenant 
“When the Flemish theatre company tg STAN gets hold of something, they build bridges between different plays; they bring out the funny side, give words a new meaning, and uncover unexpected shades hidden within. It’s astonishing.”
Mathieu Perez, Le Canard Enchaîné, 31 January 2018

Fabienne Pascaud’s column
“It’s not easy to throw the audience off balance, to rub them up the wrong way, to make them laugh when they weren’t expecting it and to move them through practical jokes. But that’s exactly what the Flemish company tg STAN has been doing since 1989. Betting it all on the joy of acting, the craziness of actors, the passionate preoccupation with the stage, the collective language. They have turned the verb into a living being: the ultimate character.”
Fabienne Pascaud, Télérama, 1 February 2018

Tg STAN skewers the upper middle class
“It was an inspired idea to have the same actor (the brilliant Damiaan de Schrijver) play the role of the 12-year-old child who is too big for his age – slouching, with hunched shoulders – and the role of the artist, arrogant even when burnt out. Every sequence, which could never be anything but satire, is rewarded a hundredfold by the extravagance of the actors.”
Anne Diatkine, Libération, 1 February 2018

text ‘Dors mon petit enfant’ by Jon Fosse translated by Terje Sinding and ‘Pièce en plastique’ by Marius von Mayenburg translated by Mathilde Sobottke
by and with Jolente De Keersmaeker, Damiaan De Schrijver, Els Dottermans and Frank Vercruyssen
lighting design Thomas Walgrave
costumes An D'Huys
production and technique STAN 

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