Details

Autor(en) / Beteiligte

• Cole, Catherine M

Titel

Holland Festival 2019 (review)

Ist Teil von

• Theatre Journal, 2020-06, Vol.72 (2), p.228-232

Ort / Verlag

Baltimore: Johns Hopkins University Press

Erscheinungsjahr

2020

Quelle

Project MUSE

Beschreibungen/Notizen

• Both Linyekula and Kentridge run experimental incubation spaces for emerging artists in African urban environments—venues that invite artists to experiment, try, fail, fail better, and perhaps more importantly, to create work in the company of other artists. Aus Licht alternately startled, transported, surprised, and mystified not only through its ritualized battles between armies of trombonists and trumpeters invading, marching, and performing in the aisles clad in fatigues, wearing brass wind mutes slung about their waists like grenades; not only through its ritualized encounters among the opera's central characters—the archetypes Eve, Lucifer, and Archangel Michael; not only through its acapella choirs processing among the audience like monks dressed in costumes that were a cross between Teletubbies and Star Trek, each cluster singing in Hindi, Mandarin, Spanish, English, Arabic, Kiswahili, or German; but also through one of its most sensational segments, which involved the Pelargos Quarteta. Kentridge's signature aesthetics were prominent: projected charcoal drawings leaping into animated sequence; monochromatic color schemes of words, texts, and maps dotted with flourishes of red; processions of migrating people carrying silhouetted head loads (boats, flags, gramophones, airplanes, canons, bundles of wood) while casting enormous shadows on the back wall. Linyekula's newest production presented in Holland was Congo, a spare play that straddled the genres of theatre and dance with only three performers and a few props: a table, six burlap bags, white sheets, a rope, light-bulb, booklet, and disco ball, one that straddled the genres of theatre and dance.