Premiere

December 1, 2019

Synopsis

The red-haired orphan Annie returns in a new production by Theateralliantie and Mark Vijn Theaterproductions, returning to the origins of Annie in Harold Lincoln Gray’s comic strip.

Annie lives in an orphanage run by the cruel Miss Hannigan, until millionaire Oliver Warbucks chooses her to spend Christmas with him. Warbucks initiates a search for Annie’s parents, leading to unexpected twists and colorful characters.

Set Design

Drawn sets and comic colors

Direction

Pim Veulings

Cast

Willemijn Verkaik: Miss Hannigan
Edwin Jonker: Oliver ‘Daddy’ Warbucks
Doris Baaten: President
Eva van Gessel: Grace Farrell
Myrthe Huber: Lily
Sjoerd Spruijt: Rooster Hannigan
Dieter Spileers: ensemble
Melinda de Vries: ensemble
Danny Houtkooper: ensemble
Amanda Payne: ensemble
Michael Muyderman: ensemble
Sammy Uivel: ensemble
Sterre Verschoor: ensemble

Creative Team

Authors: Thomas Meehan
Translation: Rob de Graaf, Roy Peters
Lyrics: Martin Charnin
Music: Charles Strouse
Musical direction: Jeroen Sleyfer
Children: Herma van Piekeren, Simone van Gog
Choreography: Pim Veulings
Direction: Pim Veulings
Coaching: Michiel de Regt (acting coach)
Set design: Daniël Ament (design)
Costumes: Sabine Snijders (design)
Make-up, hair: Cynthia van der Linden
Lighting: Marc Heinz (design)
Sound: Maarten Houdijk (design)

In première

November 3, 2018, DeLaMar Theater, Amsterdam

Synopsis

Later Was Everything Better is Peter Pannekoek’s second full-length show, where he invites the audience, through humor and wit, to view the world from a different perspective. The program explores the ‘in-between time,’ a period when the old is dying and the new is yet to be born. Pannekoek dissects stereotypes, power, and misuse, calling for compassion rather than judgment. With a playful approach and a light tone, he provokes thought about revolutionary times and those who become victims in such eras.

Review

“There’s always another story, another joke”
— Volkskrant, ★★★★

Set Design

Slaughterhouse of time

Creative Team

Director: Ruut Weissman

Opening

April 20, 2018

Exhibition Concept

Castle on Fire is a narrative and theatrical exhibition in the attic of Helmond Castle, which had been closed to the public for 700 years. During the attic tour, visitors wander through the dreams of the ancient castle, where shadows and ghostly voices guide them past authentic castle elements. The exhibition unravels the mystery of a ‘who done it’ surrounding the great fire of 1549.

The journey takes visitors across creaking floors, under wooden beams, and through thrilling passageways to rooms where impossible dreamlike events unfold, culminating in the nightmare of the fire. The design concept, the nightmare of the castle, encompasses Special FX, scenario, concept development, scenography, film, and art direction.

Set Design

The nightmare of the castle

Creative Team

Special FX: Studio Daniel Ament
Soundscape: Wim Conradi
Lighting Design: Tom Verheijen
AV Design: Rapenburg Plaza

In première

October 19, 2014

Synopsis

In celebration of the 35th anniversary of the famous children’s choir Kinderen voor Kinderen, the first family musical Waanzinnig Gedroomd was created, a lively show full of music and creative set designs.

Review

“Even more fun is that the adult actors play the music themselves, in a simple but highly effective set made up of giant moving boxes that smoothly transform from a classroom to a living room or kitchen.” Theaterkrant (Henri Drost), October 25, 2014

“All of this takes place in an amazing set. Huge boxes that look like cardboard form the foundation. These blocks move throughout the show, forming a classroom and a kitchen. The actors play instruments while sitting inside these boxes.” Ilovetheater, October 22, 2014

“The set of Waanzinnig Gedroomd is a creative piece. We see three gigantic moving boxes that, with a small change, can depict different locations. Additionally, they serve as a home base for the band.” Musical Vibes (Anna Stam), October 22, 2014

Set Design

Moving boxes as multifunctional sets

Director

Ruut Weissman

Cast

Kinderen voor Kinderen

Synopsis

Farewell concert of Acda en De Munnik. The duo Acda en De Munnik is coming to an end. This theater season, Thomas Acda and Paul de Munnik will visit Dutch theaters one last time for a joint tour. Supported by their regular band, they will play the best of what they have created in seventeen years.

Premiere

2014-09-11

Director

Ruut Weissman

Cast

Thomas Acda Paul de Munnik David Middelhoff

Set Concept

Something that was good stays with you.

Synopsis

The Last Friend of Napoleon tells the story of the French military leader, war enthusiast, and charmer Pierre Maufroy. He entrenches himself in the stronghold of Delfzijl and refuses to surrender. Stans Roggepol, leader of the pro-Orange resistance, does everything possible to drive the bully from the northern Groningen ground.

Premiere

2014-05-29

Director

Ruut Weissman

Cast

Ellen ten Damme
Arjan Ederveen
Rianne Botma
Theatre School Amsterdam
Royal Military Band Johan Willem Friso

Set Concept

Site-specific theater; transshipment warehouse, quay, turning basin, sea dike.

In première

February 21, 2014, Schouwburg Utrecht

Synopsis

Teerling is a theatrical production by Claudia de Breij, directed by Ruut Weissman. The show combines De Breij’s personal stories with visually impressive set designs. Themes range from personal life stories to larger societal issues.

Review

“In what is arguably the most beautiful set design of this cabaret season – which also includes a tribute to her hero Herman van Veen – De Breij tells her small and big stories.” Trouw (Rinske Wels), February 25, 2014

“It is a critical but contagiously optimistic speech, nestled in a stunning set and adorned with numerous surprises, small jokes, and intelligent connections.” Parool (Mike Preek), February 25, 2014

“In a spectacular set, she once again delivers a flawless program with themes that matter, never losing sight of the current events.” Telegraaf (Esther Kleuver), February 24, 2014

Set Design

Spectacular and visually stunning

Director

Ruut Weissman

Cast

Claudia de Breij

Opening

08-01-2014, het Rijks

Exhibition Concept

Following the exhibition “You & the Golden Age,” the Rijksmuseum expanded upon the concept of the ‘Society of Rijksgeheimen,’ which consists of eccentric scientists and historians living and working within the exhibition. One of the society’s members invented the ‘Vanallesreiniger,’ used by the cleaner Ali Dingendoek. The actual Vanallesreiniger was designed by Studio Daniel Ament.

Set Design

All-purpose cleaner

Exhibition Concept

During the major renovation and rebuilding of the Rijksmuseum, a secret society was discovered behind the walls, conducting research into the history of the Golden Age: What was behind it?

In the educational program You & the Golden Age, visiting children help the society put the pieces of history back together by stepping into the shoes of someone from the Golden Age. They meet Rembrandt, flee in Hugo de Groot’s book chest, and experience the cold in the Behouden Huys on Nova Zembla. This way, the museum objects gain meaning, making it an unforgettable history lesson.

Award

On March 27, 2014, the educational program You & the Golden Age won the Best Practice Award, as well as the NOT innovation awards, both public and jury prizes.

Set Design Concept

A hidden space
Opening: April 9, 2014

Show concept

Using the medium of television, the comedian and TV maker discusses his feelings of bewilderment, his moments of happiness, and the rest of his life. In the hour before the break, you will get a comedic behind-the-scenes look at television and Ruben himself. After the break, the attendees will work with the provided materials to create their own TV program, something that Hilversum could only dream of. Because if Wim Bosboom can do it, surely you can too?

Premiere

September 1, 2012

Directed by

Ruben Nicolaï

Set concept

At home, in and on the tube.

Premiere

01-03-2012

Review

Review by Joukje Akveld
Published: March 27, 2012
Seen: March 26, 2012, DeLaMar Amsterdam

That little dance by Thomas Acda. How he bounces around the stage like a happy puppy. How he spins and twirls, swinging his hip into the air. How he skips, whirls, flutters, flaps, and leaps – as if he loves nothing more. All to the enchanting sounds of “Hoor de wind waait door de bomen,” performed by Gordon (yes, indeed). That dance can be written into the history of cabaret.

It’s a bit of a fremdkörper in “’t Heerst,” this exuberant choreography in the new theater show by Acda and De Munnik. The show actually deals with quite serious matters: people trying to catch their breath in a society that just keeps moving forward. Indifference, no longer listening to each other, avoiding responsibilities.

Thomas Acda and Paul de Munnik chose a theatrical setting to bring their story to light: the eye of an apocalyptic storm, where everything has come to a standstill. The Ford they were driving, the cow flying through the air, the man, the umbrella – everything is frozen in a visually exuberant set by Daniel Ament. As contemporary versions of Vladimir and Estragon from Beckett’s “Waiting for Godot” (high shoes, big coats, bowler hats), the duo stands still and passes the time with nonsensical games, aimless wandering, philosophical reflections, and wistful listening songs. It’s pure cabaret: a balanced mix of music and personal stories with a theatrical touch.

What becomes clear again in this sixth theater program is that Acda is the real actor of the two, the comedian, who manages to infuse humor even in casually messing around with a walking stick. Just as he did in his song about the prostitute Esmee, he now conducts a cleverly thought-out conversation with an invisible listener, where you only hear his half of the dialogue. Moments later, he loses himself in an incomparable monologue about sex with Zwarte Piet and what that does to a child’s soul.

His seemingly casual chatter is full of linguistically humorous asides. De Munnik is the sounding board, the friendly giant who occasionally tries to make a point but never insistently stands his ground. He is the rock that is not blown over by Acda’s capriciousness and more importantly: he is the musical counterpoint. Without De Munnik’s sonorous voice, there is no harmonious unity, no soulful polyphony, no beautifully quieting piano solos.

“’t Heerst” is not fundamentally different from what Acda and De Munnik did in their previous programs, not innovative as you might hope after so many years of collaboration, but the craftsmanship of this feel-good theater show seeps through in every aspect. From the guitar playing of the hidden David Middelhoff in the set to the mild irony with which they poke fun at each other and themselves. From the musically and lyrically beautiful “Jij hoort bij mij” to the fine James Taylor adaptation. And that little dance, it deserves an extra star.

Director

Ruut Weissmann

Cast

Thomas Acda
Paul de Munnik
David Middelhoff

In première

October 17th, 2012

Synopsis

Aap and Bear is a bold road trip through Wim Hofman’s ABC book. In this physical and captivating show filled with hilarious confrontations, absurd dialogues, and unexpected spectacle, Aap and Bear are on a quest for a mysterious treasure. Along the way, they encounter various monosyllabic things and animals, in an adventure that starts with A and ends with Z.

Review

“With cabaret-style flair, Raaijmakers and Geerlings race through the letters of the alphabet. Slapstick, humor, clever dialogue, letter jokes at kindergarten level, philosophical bits, puppetry, and visual spectacle – it all breathes an original and fresh energy.”
— VSCD Youth Theater Jury

“Rarely has the alphabet been approached as unconventionally as by the young theater makers Job Raaijmakers and René Geerlings.”
— Het Parool (Joukje Akveld), ★★★★

“Hilarious mime art at the highest level.”
— De Volkskrant (Annette Embrechts), ★★★★

Set Design

All the letters of the alphabet

Director

Martin Hofstra

Cast

Job Raaijmakers
René Geerlings

In première

September 2011

Synopsis

In Fugu betreedt de ‘koningin van de mime’, Karina Holla, het podium samen met de Japanse danser Kenzo Kusuda. Het gedachtegoed van Kafka en Murakami komt samen in een verhaal over leven, ziekte, liefde, en dood, waarbij genezing en verzoening centraal staan. De titel Fugu verwijst naar de giftige kogelvis, maar kan ook worden uitgesproken als Fuku, wat geluk betekent. Karina Holla speelt al vijfentwintig jaar een belangrijke rol in het mimetheater.

Decorconcept

Minimalistisch en symbolisch

Regie

Rob Ligthert

Choreografie

Kenzo Kusuda & Karina Holla

Lichtontwerp

Andre Pronk

Fotografie

Ben van Duin & Andre Pronk

In première

March 10, 2016, Theater De Flint, Amersfoort

Synopsis

In High Season, Lenette van Dongen, with humor and self-deprecation, tackles the collective pressure to be happy. After her thorough cleaning in NIKÈ, she finally gets to go on vacation but quickly becomes lost in a parade of inflatable crocodiles, coolers, and flip-flops. Lenette challenges the façade of forced joy and explores the difference between happiness and contentment. Her performance is filled with hilarious observations and touching moments.

Review

Volkskrant (****):
“Lenette van Dongen comes uncomfortably close to answering big questions with her program. With an attractive combination of coarse language and charm, Van Dongen keeps the audience fully engaged.”
“Strong punchline. She expertly plays on the familiarity of daily clumsiness. Joke after joke after joke, leading to a near-constant wave of laughter in the hall.”
“A master tamer.”

Telegraaf (****):
“Lenette van Dongen shines in High Season. High Season is a captivating show. Van Dongen effortlessly captivates the audience with her eighth program.”

NRC (****):
“Everyone truly happy every day. When it comes to everyday inconveniences and daily worries, Lenette van Dongen is often at her best. That’s once again evident in her new program High Season. There aren’t many who can do it like she does: effortlessly switching between exuberant and subtle. Waves of hilarity.”

Trouw:
“Van Dongen’s show is a highlight. Few of her fellow comedians master the art of interaction with the audience as she does. Such courage. And how quick-witted!”

Set Design

An impossible-to-climb mountain

Premiere

16 September 2010

Synopsis

With knees, feet, hands, and heads wrapped in white bandages, three women sit in an entirely white space, staring into the distance as the audience enters the Bovenzaal of Haarlem’s Toneelschuur. A man sings a lullaby, accompanied by the soft groaning of the three women. What follows is a dreamlike sequence of humorous and poetic images, in which the three women demonstrate that they have not lost any of their strength.

In Swan Song, Karina Holla continues her personal approach. This performance about the strength and vulnerability of the aging body was created with three ‘senior’ performers: Pauline Daniëls, Bambi Uden, and Elsje de Wijn. The show is an associative presentation of a state of being, blending personal memories with choreography that references classical ballets like Swan Lake. Despite the aging of their bodies, the women’s graceful suppleness shines through in the dance sequences.

Review

At first, this ‘state of being’ is mostly a mournful and pitiable affair. In a hospital-like space, we find the three women confined to wheelchairs and hospital beds, wrapped in white bandages. But gradually, their bodies begin to move. Dancer Andreas Denk removes their bandages, restoring their youthfulness and femininity. He invites them to partake in playful dances, lifting them like light feathers. The power of the performance lies in its poetic moments – to grow old like this!

By Erica Smits

Set Design Concept

White, clinical space as hospital or afterlife

Direction

Karina Holla and Gerardjan Rijnders

Cast

Pauline Daniëls
Bambi Uden
Elsje de Wijn
Andreas Denk

Premiere

February 12, 2010

Synopsis

With merely the image of an opening scene in which a child on a tricycle with a porcelain head is shattered by a demon and the theme of “jealousy,” Daniel developed the concept of designing a scenography where one enters the other side of the mirror as a metaphor for the unconscious mental space within our ego. In this reality, we only see what a sliver of light falls upon, with the context consistently disappearing into the great nothingness. As with almost every set by Daniel, this set also represents the protagonist’s interior, in which even the dark side or antagonist of the self is portrayed.

Set Design Concept

Imagining the unconscious space

Direction

Jakop Ahlbom

Lighting Design

In collaboration with Stefan Dijkman

Premiere

7 May 2008

Synopsis

A visit to the production Bombay is like a fantasy journey to a slum in India’s largest city. Upon entering the Hague’s Theater Zwembad de Regentes, Indian girls give the audience a lucky bracelet and a number, after which a friendly guide leads you through long corridors to a cardboard-built neighborhood full of shops, living rooms, bars, clotheslines, and garbage. Under the direction of Liesbeth Coltof and choreography by Sassan Saghar Yagmahi, twelve actors, dancers, and singers bring to life the hectic existence in a city where fate determines your future. The performance addresses themes such as poverty, exploitation, and child labor, while it remains full of vitality and imagination.

Review

The production showcases the art of survival between Bollywood and the garbage dump, offering a glimpse behind the scenes of Bombay. With captivating music, dance, masks, and puppetry, Huis aan de Amstel bridges the gap between the Netherlands and India. It delivers an explosive and realistic portrayal of the city.

Set Design Concept

Crowded city of cardboard.

Direction

Liesbeth Coltof

Choreography

Sassan Saghar Yagmahi

Cast

Twelve actors, dancers, and singers

Premiere

2007-09-20

Synopsis

A Kafkaesque performance about surveillance and paranoia. Based on the life of the Russian inventor Lev Theremin, creator of the first electronic instrument.

Set Design

Folding of reality

Director

Karina Holla

Music

Stanko Juzbasic

Lighting

Kees van de Lagemaat

Cast

Andrea Beugger\
Dries van der Post\
Péter Kádár

Premiere

22 February 2007

Original synopsis

In a small French provincial town, the proud, intellectual Jean and the shy, good-hearted drunkard Bérenger meet in the town square. Suddenly, two rhinoceroses storm through the streets, causing great commotion. When even a cat is trampled, the townspeople indignantly call for action. Bérenger and Jean argue about what they saw, after which Jean angrily leaves.
At Bérenger’s workplace at the local newspaper, another rhinoceros appears and destroys the exit, trapping him and his colleagues. When it turns out that the rhinoceros is actually Mrs. Bœuf’s husband, she fearlessly jumps on his back and disappears. Bérenger seeks out Jean to apologize but discovers that Jean has changed: he is starting to become a rhinoceros himself and rejects humanity.
At home, Bérenger is haunted by the fear of his own transformation. More and more people choose to become rhinoceroses, including his colleague Dudard and eventually his beloved Daisy. Isolated and lonely, Bérenger doubts his own identity. He tries to change, but he cannot. With renewed determination, he swears to remain steadfastly human and declares that he will never give in.

Set Design

The advancing machine. The set is a massive concrete wall with a staircase built into it, posing the question of whether you ascend or descend, to heaven or hell, while during the performance, it forces all props and actors to the edge of the stage. At the beginning, it is positioned at the back of the stage, and during the performance, it moves so slowly towards the audience that the movement is imperceptible.

Director

Aram Adriaanse

Production & Direction

De Nieuw Amsterdam

Cast

Sabri Saad el Hamus (Bérenger)\
Sanne Vogel (Daisy / Woman on the street)\
Carl Ridders (Jean / Mrs. Jansen)\
Gustav Borreman (Dudard / Man on the street)\
Dunya Khayame (Mrs. Papillon / Sociologist)\
Hossein Mardani (Botard / Waiter)\
Noraly Beyer (Newsreader)

Creative Team

Author: Eugène Ionesco
Adaptation: Justus van Oel
Dramaturgy: Caspar Nieuwenhuis
Set Design: Daniël Ament
Costumes: Rien Bekkers
Lighting: Matthijs van Muiden

Opening

September 28, 2006

Exhibition Concept

Star in the City, inaugurated by Princess Máxima on September 28, 2006, is an interactive exhibition at Tropenmuseum Junior in Amsterdam. During the Bombay tour, children experience the dynamic life of the Indian metropolis of Bombay, where Bollywood glamour intersects with the challenges of daily life. Through objects, dance, music, scents, and stories from the city’s residents, children learn about the contrasts and resilience of the city.

Children are drawn into the story as fortune seekers, lured to the city by a recruiter, where they quickly find they must start at the bottom. They explore their place in Bombay, stepping into the shoes of residents who are interconnected through commerce and daily life.

Central to the exhibition is the story of Gauri, a girl who, despite her physical limitations, dances and shines as a symbol of resilience. A special music video was filmed in Bombay, featuring vocals by renowned singer Asha Bhosle. Children participate by dancing and are integrated into the video in real-time, which they can take home as a keepsake.

Set Design

Interweaving of formal and informal economy

Additional Information

The exhibition is accompanied by the book Dancing on One Leg, which takes readers on a journey to find a star in the city. The book is filled with photographs and offers a deeper look into life in Bombay.

Premiere

28 September 2006

Synopsis

A magician makes a woman disappear. She does not return. Her husband does everything to find his beloved and steps into the magician’s magical world. He ends up in a surreal maze where illusion and reality blur. Every time he seems to find her, she slips away from him. The man gets lost deeper and deeper into the magician’s mind.

Set Design Concept

Magical and surreal maze world.

Production & Direction

Jakop Ahlbom / Jeroen van den Berg

Lighting

Rob Galdermans

Production

Meeke Beumer

Costumes

Susann Rittermann

Music

Wim Conradi

Cast

Jakop Ahlbom
Reinier Schimmel
Kelly Hirina
Irene Slotboom
Marie Groothof
Inez Almeida
Ariadna Rubio Lleo

Premiere

Mid-May 2006

Synopsis

In Afkloppen!, Camilla Marienhof, a mime-trained performer, plays a woman with obsessive-compulsive disorders. Using sequences of numbers, she tries to ward off impending misfortune and control her life. Steel pipes form the skeleton of a subway, through which the woman travels the city. The graffiti on the seats, trash on the floor, and cold fluorescent light create a grim atmosphere. This environment, along with the conductor’s completely incomprehensible announcements, makes the fast-paced modern world feel overwhelming for this woman.

Set Design Concept

Steel skeleton of subway

Direction

Camilla Marienhof

Premiere

2004-11-11

Synopsis

Joaquim Sabaté, a Catalan choreographer renowned in the Netherlands, transitioned to singing after twenty years in the dance world, specializing as a countertenor. Following a successful international tour, Sabaté now presents Ballo Cantabile in Barcelona, a choreographic work performed by himself and soprano Elena de Vega. The performance is accompanied by two live musicians, offering a modern interpretation of music from Italian Baroque masters.

Set Design

Modern interpretation of baroque forms.

Direction

Joaquim Sabaté

Cast

Joaquim Sabaté (concept, countertenor voice)
Elena de Vega (soprano voice)
Israël Golani (theorbo)
Eva Reiter (gamba-viola)

Creative Team

Costume: Françoise Magrangeas
Set Design: Daan Ament
Video: Roberta Marques
Editing: Caroline Dokter
Technical Support: Ingeborg Slaats
Production: Kees Koeman
Production Assistant: Mariken van Sitteren

Premiere

2004-04-08

Synopsis

“Lost” is a dance-oriented movement performance about a man balancing on the edge of his existence. A man who feels lost and estranged. A man who can’t bear the pain, jumps out of the depths, only to return, relieve the pain, and fall asleep on the pavement 40 meters below.

In a world between life and death, a poetic collage of memories, fears, desires, loved ones, and family members unfolds. Through play, dance, magic, live music, visuals, and text, the audience is drawn into flashes of thoughts and images during the fall.

“Lost” explores the feeling of being lost, the mystery of suicide, and the impact on the surroundings when someone lets go.

Set Design

Waiting room/station without metro or train

Direction

Jakop Ahlbom

Cast

Carola Bärtschiger
Valentina Campora
Luc van Esch
Silke Hundertmark
Peter Kadar
Matthias Maat
Anja Sielaf/Irene van Geest
Roel Voorbij

Live Music

Solbakken (Empee Holwerda, Klaas Schippers, Jelle Buma)

Creative Team

Text: Emanuel Muris
Dramaturgy and Advice: Mischa van Dullemen
Set Design: Daniël Ament
Costumes: Susann Rittermann
Light Design and Technique: Vinny Jones
Photography: Oliver Helf
Production: Florian Hellwig

Premiere

03-05-2003

Synopsis

The voice with which Mother Dolores runs the pension is shrill and harsh. She constantly commands or scolds the people around her. At times, her speech transitions into raw flamenco singing. She is a proud star, this quintessentially Spanish woman in the production ‘Pension Dolores’ by Joaquim Sabaté. The pension is an inside-out caravan, featuring a kitchen, reception area, and numerous windows and doors from which people constantly emerge. In a chaotic yet cozy atmosphere, scenes of daily life—such as peeling potatoes and hanging laundry—alternate with dramatic dance eruptions and intriguing love stories.

Review

“Pension Dolores” is a lighthearted, unpretentious production with a natural and infectious play style. Despite its chaotic appearance, many dance sequences are surprisingly sharply choreographed.

Set Design Concept

Inside-out caravan

Direction

Joaquim Sabaté

Cast

Name 1\
Name 2\
Name 3

Première

28-09-2002

Synopsis

The production “Nur zur Erinnerung” is a typical example illustrating the design approach, methodology, and process of Studio Daniel Ament.
Mime performers trained at the AHK follow the tradition of famous founders of modern mime such as Etienne Decroux, Marcel Marceau, etc., creating material on an empty stage through improvisation, expression, intention, and impulse, without grand plans or concepts.
This approach offers the perfect synergistic situation for the conceptual design approach of Daniel Ament.

The overarching conceptual theme in Daniel Ament’s graduation work at the Rietveld Academy explored how people appropriate space and express (and shape) their identity through different layers of scale: the first layer being the body, the second layer clothing, the third interior, the fourth house, the street, the place, the province, the country, etc.

This concept continued as the conceptual basis for the set design of “Nur zur Erinnerung,” which consists of a massive cabinet made up of various smaller cabinets collected from the city. When this cabinet, or wall, opens like two doors, it reveals an abstract, white inner world—a tabula rasa with saw cuts functioning as scars—and symbolizes both the mental space of the protagonist and a statement about the construction of the ego’s identity through spatial elements and memories of the experiences that ‘marked’ you.
The choice of these cabinets, sourced from diverse origins, allows viewers to project personal memories, contributing to the audience’s meaning-making and providing both physical and conceptual inspiration and frameworks for the mime performers and choreography.

Set Design Concept

A cabinet as mental projection.

Director

Jakop Ahlblom

Cast

Jakop Ahlbom
Silke Hundertmark
Péter Kádár
Gabi Sund

Dramaturgy and Advice

Mischa van Dullemen

Lighting Design

Vinny Jones

Technical Crew

Vinny Jones
Wilfred Plum

Production

Florian Hellwig

Scenography

Daniel Ament

Sound

Jaap Lindijer