Project for Upcoming artists for the Large Stage.
Four young directors ask, investigate and play the grand hall.
Follow their projects, their work process and their dialogue.
Timeau De Keyser (b. 1988) graduated in 2011 from the School of Arts |KASK Ghent. Together with Hans Mortelmans and Simon De Winne, he founded tibaldus. After a series of rather abstract productions, such as Paard: een opera, Tibaldus developed a renewed interest in the aspects of ‘acting’ and went back to placing the focus on ‘the actor’. In the work of the Polish author Wiltold Gombrowicz, the company found the right material for developing their (acting) style further, which resulted in two brilliant productions: Yvonne, Prinses van Bourgondië and Het Huwelijk. “The acting must be earnest in order for it to be acting!” Timeau De Keyser also has worked regularly with filmmaker Pieter Dumoulin. Together they made the short film De Reconstructie (2015) and the feature film Etangs Noirs (2018).
Timeau De Keyser (b. 1988) graduated in 2011 from the School of Arts|KASK Ghent. Together with Hans Mortelmans and Simon De Winne, he founded tibaldus, with which he made productions such as Paard: een opera (2010), 4:3 (2012) and Persona (2013). Tibaldus notably chose to work with amateurs as well as professional actors. After these first productions, which were more abstract and visually oriented, the company rediscovered an interest in ‘acting’ and the focus came back on the actor. Tibaldus found the perfect material for further developing their style in the work of Polish author Witold Gombrowicz. The first result of this was their production Yvonne, Prinses van Bourgondië, which premiered at the Bourla Theatre in 2016. Discarding all theatrical aids, Tibaldus radically focused on the acting. Aided only by minimal dancing movements and a concentration on the words, the actors literally personified the meaning of the script. “The combination of Gombrowicz’s Yvonne, Prinses van Bourgondië with the poetics of Tibaldus is a match made in heaven, both for the performers and the spectators,” said Jasper Delbeke in Etcetera. During Love at first Sight #2, Tibaldus presented texts by Hans Mortelmans in the installation Nooit Opgevoerd Toneel, a series of interfering ‘incidents’ that prevented the actors from presenting the play they wanted to perform. Here too, the spirit of Gombrowicz was in the air; no coincidence, then, that the follow-up to Yvonne was his playHet Huwelijk. Once again, Tibaldus concentrated on the acting – “Acting must be serious in order to be acting!” – this time ‘brightened up’ with live polyphonic singing, some in the company’s own arrangements. “This is the right play at the right time: this production of Het Huwelijk demonstrates the responsibility that all speech requires, and in these politically correct times gives a contemporary twist to a 70-year-old script,” wrote Gilles Michiels in Etcetera.
In September 2020, Timeau De Keyser and Tibaldus are creating the production Gekken & Specialisten, based on a text by Nobel Prize winner Wole Soyinka. Gekken & Specialisten employs nonsense and word play to unmask our society as an everlasting power struggle between belief systems that each claim to be the one and only truth. In the meantime, the company is also preparing for Operette, Gombrowicz’s third and last play.
Timeau De Keyser also works regularly with filmmaker Pieter Dumoulin. Together they made the short film De Reconstructie and the feature film Etangs Noirs (2018). The latter was shot in the Modelwijk district in Brussels and performed by local residents. “Nothing is what it seems in this enigmatic mystery, which promises to be one of the most original films of the year…. Searching for pent-up tension and a subtle feeling of impending doom in everyday reality, they keep the viewer in a state of intangible agitation.” (Michael Blyth, programmer for BFI London Film Festival).
For theatre magazines like Etcetera, Timeau De Keyser also regularly writes more contemplative contributions, such as the recent Wie behoort de verbeelding toe? (March 2020).
In the meantime, Timeau has trained under Jan Fabre (Belgian Rules/Belgium Rules), Guy Cassiers (Vergeef ons) and Olympique Dramatique (Angels in America).
Read here the interview with Timeau de Keyser
Lisaboa, Bosse, Timeau and Hannah encounter Meg Stuart at NTGent, following the presentation of her shows that she recently performed in Belgium (Shown and Told, in cooperation with Tim Etchells; Built to Last; UNTIL OUR HEARTS STOP).
“You should always give everything as if you don’t know afterwards what to do anymore”. (Meg Stuart)
Meg Stuart (1965) is an American choreographer and dancer, living and working in Brussels and Berlin. Her company, Damaged Goods, is based in Brussels since 1994.
P.U.L.S. - a state of play
the four-year pathway for new makers for the big stage is in fact already over halfway. So it is time to take a look back and to look forward.
Tibaldus reads Jean Genet
Every week, Tibaldus invites friends & colleagues to read theatre texts together. At the end they will select one text that will be part of their next production.
Today: De zwarten (The Blacks) and Het balkon (The Balcony)
Tibaldus reads Jean Genet
Every week, Tibaldus invites friends & colleagues to read theatre texts together. At the end they will select one text that will be part of their next production.
Today: De zwarten (The Blacks) and Het balkon (The Balcony)
ENCOUNTERS / WORKSHOPS
Encounter with Kristof Van Baarle on dramaturgy: collective reading of essays from Patricia De Martelaere’s Wereldvreemdheid (Unworldliness) and a screening of an excerpt from Les Maîtres Fous (The Mad Masters) by Jean Rouch. Van Baarle sees them both as references to the question of how to find a form that is political, or towards the politics of form.
ENCOUNTERS / WORKSHOPS
Encounter with Johan Leysen on play-acting:
"It is difficult to say something sensible about play-acting. Of course I’ve had to learn a few things over the years, but I always try to keep it exciting by forgetting my experience and going back to the beginning each time.”
Read more
For rekto:verso Timeau De Keyser talks to critic Charlotte De Somviele about the position of ideology in theatre.
Theatre-makers and critics today cannot avoid reality, neither do they want to. Not that it was any different in the past, but the current generation is more politically aware. If that is true, does it follow that the critic takes an essentially ideological approach to theatre, and replaces aesthetics with ethics? Or are they direct opposites where in practice we – the theatre-maker and the critic – can do very little?
Read the complete article in Dutch here.
The film 'Etangs Noirs' by Timeau De Keyser and Pieter Dumoulin premiered last Sunday at Film Fest Gent and was very well received!
Tuesday international premiere at BFI London Film Festival.
