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Th 14 Jun 2001
premiere
Amsterdam
Fin de Saison / Westergasfabriek
Sa 16 Jun 2001 Amsterdam
Fin de Saison / Westergasfabriek
Fr 29 Jun 2001 Amsterdam
Fin de Saison / Westergasfabriek
Th 6 Sep 2001 Amsterdam
Fin de Saison / Westergasfabriek
Sa 8 Sep 2001 Amsterdam
Fin de Saison / Westergasfabriek
We 16 Jan 2002 Antwerp
Monty

+32 3 2389181
website
Th 17 Jan 2002 Antwerp
Monty

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website
Fr 18 Jan 2002 Antwerp
Monty

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website
Sa 19 Jan 2002 Antwerp
Monty

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website
Tu 22 Jan 2002 Brussels
Kaaistudio's

+32 2 2015959
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We 23 Jan 2002 Brussels
Kaaistudio's

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Th 24 Jan 2002 Brussels
Bronks

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Fr 25 Jan 2002 Brussels
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Th 7 Feb 2002 Amsterdam
Theater Frascati

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Fr 8 Feb 2002 Amsterdam
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Sa 9 Feb 2002 Amsterdam
Theater Frascati

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We 20 Feb 2002 Ghent
Nieuwpoorttheater

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Th 21 Feb 2002 Ghent
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Fr 22 Feb 2002 Ghent
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Sa 23 Feb 2002 Ghent
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Th 9 May 2002 Antwerp
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Fr 10 May 2002 Antwerp
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Sa 11 May 2002 Antwerp
Monty

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Tu 18 Jun 2002 Amsterdam
Theater Frascati

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website
We 19 Jun 2002 Amsterdam
Theater Frascati

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website
Th 20 Jun 2002 Amsterdam
Theater Frascati

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website
Th 27 Jun 2002 Ghent
Nieuwpoorttheater

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website
Fr 28 Jun 2002 Ghent
Nieuwpoorttheater

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website
Sa 29 Jun 2002 Ghent
Nieuwpoorttheater

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Mo 2 Sep 2002 Brussels
Theaterfestival België / Kaaitheaterstudio's

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website
Tu 3 Sep 2002 Brussels
Theaterfestival België / Kaaitheaterstudio's

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Tu 10 Sep 2002 Amsterdam
Theaterfestival NL / De Brakke Grond
We 11 Sep 2002 Amsterdam
Theaterfestival NL / De Brakke Grond
Th 12 Sep 2002 Amsterdam
Theaterfestival NL / De Brakke Grond
Mo 16 Sep 2002 Rotterdam
Rotterdamse Schouwburg

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website
Tu 17 Sep 2002 Rotterdam
Rotterdamse Schouwburg

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Fr 27 Sep 2002 Haarlem
Toneelschuur

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Sa 28 Sep 2002 Haarlem
Toneelschuur

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Tu 1 Oct 2002 Louvain
STUK

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We 2 Oct 2002 Louvain
STUK

+32 16 320320
website
Three thespians (Damiaan De Schrijver, Matthias de Koning and Peter Van den Eede) from three companies (tg STAN, Maatschappij Discordia and de Koe) defy the laws of the theatre and of their own craft to boldly adapt Diderot's Paradox of the Actor .

In vandeneedevandeschrijvervandekoninganddiderot they examine illusion in the theatre, the actor's identification with the character and the need to model oneself on an example found in nature. Is Diderot right? Is Diderot wrong?

'The hand slid over a smooth surface; but the eye, being compelled (caught in a spell), perceives an irregularity, in such a way that one could ask the philosopher which of the two conflicting impressions (which of the two meanings) is the true liar.'

vandeneedevandeschrijvervandekoningendiderot was nominated for the 2002 'Theaterfestival'. In the autumn of 2003 was created a French version, du serment de l'écrivain du roi et de diderot , which was performed in France (a.o. at the Paris 'Festival d'Automne') and in Canada.

tg STAN, De Koe en Maatschappij Discordia spelen "vandeneedevandeschrijvervandekoningendiderot"

The rich and still highly topical text is served up by the threesome as a drawn-out slapstick routine, a battle with objects (the silent laying of the table in the first scene is more than worth the while on its own), a killing field brimming with water, generously powdered wigs, endless actions and clever wordplay. 
Début de saison , De Groene Amsterdammer, Loek Zonneveld, 25/08/01 

Put these three actors around a table and you instantly get fine cuisine. Even an eighteenth-century essay becomes a feast, and a highly palatable one at that. The paradox of Diderot is not only the subject of their conversations; it is also brilliantly enacted. They do all this in their own particular style, hovering on the edge of the farcical, now unemotional and then quite bombastic - because an actor should always exaggerate. But in the end they fall into the trap of their own perfect imitations. And the audience follows suit. They illustrate and mock their line of reasoning with a volley of inside jokes. This is brilliant actor's theatre. The fact that we're being told by characters that an actor should efface oneself, in a performance entirely made by men who explicitly play off their personality as actors, is the funniest paradox of them all.
How real is the actor? , De Standaard, Fred Six, 19/01/02

Discoursing on the implications of the eighteenth-century essay the actors offer their audience an hilarious two hours' worth. Despite all the silliness they always return very cleverly to the crux of the matter: the essence of acting, the actor's function and all the truths and misconceptions on these subjects. Everything is fake, that's what they're saying; on stage nothing is what it seems: the plastic feast, the whisky decanter filled with tea, 'blood' spurting from a crushed capsule. And yet these are men of flesh and blood, sweating in their heavy suits with their half-powdered heads, knowing exactly what they want to get at through Denis Diderot's rich text. The actor's craft is truly wonderful.
Three silly little men of flesh and blood , de Volkskrant, Karin Veraart, 20/06/02

 
text after Paradox of the Actor by Denis Diderot
by and with Matthias de Koning, Damiaan De Schrijver and Peter Van den Eede

production tg STAN, De KOE and Maatschappij Discordia.
coproducers of the French version Théâtre Garonne (Toulouse), Festival d'Automne (Paris) and Théâtre de la Bastille (Paris)

premiere 14 June 2001, Westergasfabriek, Amsterdam (NL)
premiere French version 12 November 2003, Théâtre Garonne, Toulouse (FR)