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Platform In De Maak

Makers

——— A workshop for children from 6 to 12 years old in which we playfully look for the creativity and individuality of each child.
——— Through improvisation, movement, material and space we try to form a unique, theatrical world.

Anna Bentivegna

Creation workshop for children

——— In 2015, the creation collective z.a.t (business alliance theater and others) was founded. The proud co-parenting is in the hands of Julie Behaegel, Marie Peeters, Bas Van Hoeck, Jesse Debille and Julie Van Kerckhoven.
——— For the In de Maak festival, the z.a. collective created an installation for the facade and entrance hall. They went from door to door to collect old pieces of fabric, sheets, towels,... from people in the neighborhood. They stitched these together into theater canvases. When you venture to what can be seen behind the theater curtains, you will not only be welcomed by a somewhat large doormat, but also by the SAT manifesto.

It's us!
Are you sat?
You're sick of it!

Thanks to all the people in the neighborhood for their pieces of fabric!

Collectief z.a.t

Theater z.a.t

——— A white animal by Ella S. Dalemans is not a white animal, it is the title of a performance about being open-minded in a polluted world.
——— It is being naked and starting in a container park.
The text arises from the imagination of the most terrible performance ever and ends with the hobbyhorse: what we make shapes us.

Text and play Ella S. Dalemans
with thanks to Julie Van Kerckhoven, Ben Tanghe and Casper Van De Velde

Ella S. Dalemans

White animal

——— Want to get those dancing legs out? Want to shake everything loose again? Do you enjoy dancing together? This is possible on the Open Dance Floor!
——— We stand on the wooden dance floor and after a short warm-up we start with the free and full
dancing. Everyone dances the way they want. Dancing fun guaranteed. And usually sweating too.

Thanks to danspunt and specifically Jana Debruyne, with whom I really enjoyed devising this project. Also thanks to Zoë Demoustier who often involves me in beautiful projects and believes in my creation :-).

Hilke Dehaes

Open Dance Floor

“A SKELETON AND A FISHERMAN
This is a photograph of me
——— In the background there is a lake, And beyond that, some low hills
——— (the photograph was taken the day after I drowned)
——— I am in the lake, in the center of the picture, just under the surface
——— (from a poem by Margaret Atwood)
——— We cannot read the darkness. We cannot read it. It is the crack between the worlds in which a skeleton and a fisherman continuously disappear. 'A Skeleton and a Fisherman' is a performance by Jana De Kockere and Bjorn Floréal, inspired by a story told by Clarissa Pinkola Estés, an American poet and psychoanalyst and gatherer of ancient folk tales. Jana and Bjorn try to capture the alien in human relationships. It is what it is. And it's there to look at.”

Play and concept: Jana De Kockere, Bjorn Floréal.
Based on a text by Clarissa Pinkola Estés.
Thanks to Joeri Happel.

Jana De Kockere and Bjorn Floréal

A Skeleton and a Fisherman

——— The public is invited to sit in small groups at one of the tables. The intention is to start a conversation around the theme of suicide based on the
predetermined questions on the tables. These conversations are recorded with the permission of all participants. The recordings serve solely as a source for writing a theater text and remain completely anonymous. There will then be the opportunity to ask questions or simply share something with the makers themselves, who are in the middle of their research period. This can be done individually or in groups.

Laura François and Louise Raes

Praatcafé de la mort

——— L’état de rêve is een vastgelegd denkproces van twee jonge makers.
——— Het geeft twee intieme denkwerelden weer die zijn samengevloeid uit gesprekken en discussies, zoekende naar duidelijkheid in een zin.

Een film van: Misha Demoustier et Jacob Schoolmeester
Dank aan: Ugo Dehaes

Misha Demoustier

L’état de rêve

Please!

——— A red trip through a landscape, our landscape, the art landscape. All roads are paved. Do we have to do everything? For what? For whom?
--- For you! This performance arises from personal research. In form, in point of view and in individuality. Does individuality still exist? Or originality? Did it ever exist? These questions are both universal and individual to me. And I tried to express the answers I found to this in text as well as in form and style.
——— Whether I succeeded, you can decide for yourself. And I don't say this to make it easy for me, but because that is the conclusion of my research.
——— The spectator decides. We (the artist, the actor, the director) can only make a sincere attempt to guide your gaze, capture your attention and take you into our world.
——— An ode to art, to theater.

Concept and text: Noa Pylyser.
Coaching: Nico Boon and Timmen Afschrift.
Game: Aline Nuyens, Charlotte Wellens, Heleen Desmet, Maxime Waladi and Noa Pylyser.
Technique: Femke van der Steen and Jonathan Michiels.
With thanks to: Kristof Van Perre, Godfried Verschaffel, Sandra Diris, Egon Schoelynck, Merel Severs, Runa Robbroeckx, Elsa van Dijk, Nathalie Schriel, Simon Berntsen, Familie Muselaers, OPEK, de Monty, hall deFENIKS-WALPURGIS and LUCA Drama.

Noa Pylyser

Please!

Tuur: scenography
Jolien : graphic design
Elowise: round table discussions
Celien: programming Renée + helping behind the scenes
Eline: communication + helping behind the scenes
Oihana: programming Simon + Anna Franziska + Nathan + helping behind the scenes
Barbara : helping behind the scenes

Oihana Azpillaga, Eline Dewaele, Celien Mertens, Barbara T'Jonck, Tuur van den Steen, Jolien Wallenus en Elowise Vandenbroecke

——— The starting point of this work is to open the dialogue about what space can be. Space is subject to interpretation and may differ depending on people and/or times. The installation itself delimits space but can be interpreted in different ways depending on the user or the moment. It previously stood at the head of the Vaart, now in the courtyard of the monastery, and in the future perhaps in an open field. This boundary of space can be in any context, thus restarting the conversation and experience.
——— To illustrate, I asked two people to do something in the designated area. One person is a musician, the other a dancer. I let them interpret the space themselves and this resulted in an image and sound fragment. (this can possibly be done with the film fragment)

Renée Faveere

About space

I will never dive off a cliff, I will not reenact the famous scene from the Titanic
——— on the tip of a speedboat
I will never try to take a nice holiday photo
——— near an erupting volcano
I will never go into a forest dressed as a reindeer
——— during hunting season

In ALL WE EVER LOOK FOR, Runa makes an attempt
get moving. She tries to overcome the fear/her fears
to capture and surround.

TEXT AND PLAY Runa Robbroeckx
COACHING Sanne Vanderbruggen
THANKS TO Peter Anthonissen, Nico Boon, Kris Cuppens, Yentl Gijbels, Joris Perdieus, Noa Pylyser, Egon Schoelynck, Kristof Van Perre, Kyra Verreydt, Carl Von Winckelmann and LUCA Drama.

Runa Robbroeckx

ALL WE EVER LOOK FOR

——— “If you at first don't succeed, Failure may be your style”
(Quintin Crisp)
——— For ne mosquito pas we search our notes from previous performances for ideas that we have worked with in the past but that never made it into a performance. We collected the stories around those ideas, we look for what we define as 'bad taste' and 'good taste' and with this notion we try to make something 'good' with our bad taste. We looked for negative attitudes and second-hand bodies. How can we use less successful ideas and their stories to imagine a future with different possibilities? In ne mosquito pas we each search within our own universe for the state of virtuosity and the associated failure.
——— Ne mosquito pas wants to expand itself in the longer term as a community project with an associated digital platform that exceeds the boundaries of virtuosity determined by the market and the Western view. Anyone can become a member. Currently this can be done by leaving your mark as nemosquitopas@gmail.com, the password for the account is 123Jointheclub.

credits: concept: Simon Van Schuylenbergh /_22200000-0000-0000-0000-00000000022 2_ developed and presented by: Anna Franziska Jäger , Nathan Ooms, Simon Van Schuylenbergh / Scenography: Veronika bezdenejnykh and friends, Van Schuylenbergh & Van Schuylenbergh designers Steun:School van Gaasbeek, volksroom, artist commons, SB34 and Ť_22200000-0000-000 0-0000- 000000000222_ĥëăťŗē

Simon Van Schuylenbergh, Nathan Ooms, Anna Franziska Jäger

ne mosquito pas 3 (NathanAnnaFranziskaSimon)

——— Toon and Milan elevate the theater space to a kingdom. They try to resist what they have been taught. They go all out for the fantasy and join in with each other without asking questions
imagination. When inventing their utopia, they are confronted with the limits of their frame of reference.

Credits: concept and play: Milan and Toon

Toon Acke and Milan van Bortel

Koning Kip plays Koning Kip

——— In Time of my life zetten Hidde en Zoë, het idee van The Disintegration Loops, een serie van albums
gemaakt door de avant garde componist William Basinski om in beweging. De opnames bestaan uit
bandlussen, die geleidelijk verslechteren elke keer ze op de bandkop passeerden wat onverwachte resultaten opleverden. Een zelfde idee passen ze toe op een loop van vertraagde bewegingen waarbij ze elkaar om de beurt dragen. De herhaling en zwaartekracht tasten langzaam het bewegingspatroon aan.
——— De soundscape gecomponeerd door Ralph Hermans laat flarden van het iconische nummer Time of my life horen. De American dream breekt langzaam af.

——— Time of my life is te zien in de blok work-in- progress op zondag 29 september. Deze work- in- progress is een toonmoment ontstaan na een eerste 6 repetities. Na het toonmoment is een feedback moment.

Concept en uitvoering: Hidde Aans-Verkade, Zoë Demoustier
Muziek: Ralph Hermans
Dank aan: Ultima Vez

Zoë Demoustier and Hidde Aans-Verkade

Time Of My Life

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