The future is not anymore what it was before...
A visual theatre performance with 3 ten year old girls about the desire to look in the future and the need to remember the past. Based on letters to the future from children and voiceover memories of the past from adults.
In the end of my study at the Faculty of Theatre in Utrecht/the Netherlands I developed a piece with three children of 10 years old for an adult audience. The children wrote letters to their future-selves and read them out during the performance. At the same time I also work with recorded stories from adults about there childhood. These two things I contrast with each other. In the performance a constant game is played with time: jumping forward and backward, from age 10 to age 80 to 40 to 20 and back; from past to future straight into the very here and now. By creating an intimate atmosphere where the boundaries between the young performers and the audience become more fluid, also the time experience of the audience is challenged, drawing out the memories and future expectations of the people that join this experience.
Because the result of this process worked out quite successfully, I feel that the idea still has a lot of possibility to grow, especially within an international context. My creative curiosity lies in the different future wishes of children around the world, as well as the memories of adults in their specific cultural situation. Most of the time adults perform for children but I think the other way around is also very interesting. This concept is really fit to be adapted to different places around the world and to be recreated again and again within a short period of time. The concept stays the same but the performers and circumstances are different every time, making every new version unique.
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credits
concept en regie: Jasmin Hasler
performers: Saskia Nauta, Merlijn van der Vegt, Claartje Vermin
scenografie en kostuums: Hanneke Schriever
dramaturgie: Annemarije Visser
geluidsontwerp: Tanaquil Schuttel
lichtontwerp: Tim Vermeulen -
press
“De kracht van de voorstelling zit met name in het verbeeldingsvermogen van de kinderen en de manier waarop jij die naar buiten hebt kunnen brengen door de vorm waarin je ze hebt laten spelen. Door het krachtige beginbeeld en de intieme setting worden de toeschouwers meegenomen in die verbeeldingswereld van de kinderen. De zelfgeschreven brieven naar hun tachtigjarige ik en hun veertig- en twintigjarige ik zijn een effectief middel om hun ideeën en wensen over te brengen. Ook andere scènes zijn mooi, waarin ze vertellen wat ze die dag gedaan hebben, of die waarin ze vertellen wat ze zien in de spiegel. Deze zijn krachtig, omdat je de kinderen dan zelf hoort vertellen wat ze zien en beleven binnen de door jou opgelegde kaders. Het is je mooi gelukt om de voorstelling heel open en kwetsbaar te houden en het randje tussen jouw vorm en hun spel op te zoeken.” (Nina Aalders, dramaturge)