15 oktober

CHECK IN
Need haider : become concrete (catalin also)

Ward: see things happening this week : inefficient? See thing?

Stefan: enjoys no structure but also scared and he likes it

URGENCY
Uriah: urge to be on the floor as an actor. Interesting to think about how can a scene look
but he misses to work as an actor on the text and to work on the floor with it. Wants
somebody to guide him in that process. PLAY. Someone that can look from outside to
suggest: try this, try that.

 Geert : idea for a scene?

Uriah: yes. Ideas for scenes. Work with catalin. Monologue to work on. Reach out to
someone in the group to ask if they want to do the dialogue with him. Pick one concrete
idea to work with.

 Sigi: what dialogue and what scene?

Uriah: Antigone. With a girl. Do a gender swap. Antigone as a gogo dancer working in a club
to pay her bills. Kreon is the pimp. Kreon is exploiting her/him. Doesn’t know which text he
wants to use yet.

 Haider: Which scene?

Uriah: no idea yet.

GEERT: Work with Catalin but also be guided.

Amelia wants to guide him for the monologue. Kato wants to play Kreon. Catalin also wants
to work with him as a gogo girl.

JONATHAN:
Work with Stefan on scenography. Work on Ajax text. He wants to work on the universe he
created in Ajax last week. If people want to join – yes.

Ward  Is Barbara joining.

Jonathan: Barbara might not come the entire week.

He wants to investigate the perversity, the madness and make his own decisions regardless
of what is happening around him.
Rania: Not sure. Difficulty to decide where to go. She studied the text of the guard in
Antigone. See where she goes from there. She wants things to become more clear. `

 Berthe: Barbara wants to join?

Rania: Barbara wants to join Antigone.

Kato and Catalin want to talk to Rania.

Big group divided parts in Antigone.

Pepijn: the roles that were divided in the group were only for one scene.

Jonathan: Do you still wanna work on Ajax?

Rania doesn’t wanna make a choice yet.

Haider – Jonathan: Do you need Rania? Do you wanna work together again?

Jonathan: The question was just practical.

Catalin: Wants to know if Rania is interested in the role of Euridice? He wants to give her
more lines.

Rania is up for it.

Hopes by the end of the week it is clear what she wants to do.

WARD:

Is wondering from which moment on he will be usefull for us.

BERTHE:

The last monologue of Antigone

Medea but cutting the lines of the men. (story of medea told by woman)

Kato – we didn’t receive text so if we want to do it we need a planning. For her it’s to vague
at the moment. Need to sit together.

Jonathan : urge to hear what touches people in the text.

Still thinking. It will come back

SIGI:

Speak with anyone who is interested in Antigone (kreon – haimoon, teresias – Kreon, Pieces
of the choir as politicians.

 Uriah is also interested in Teresias: link with rituals, want to link it to his own culture.
Wrote a text with his mom about an experience he had and joined it with the text of
Teresias. It’s the monologue before the dialogue. Proposes to join up with Sigi.

Sigi wants to do it.

Rania: idea for everyone about the rituals. Funurals. Put the scenes in this form. Will
elaborate later.

Axelle:
More material.
Whatever play. No decision yet.
Enjoy to make and to do things.
For at least minimum one more week before she starts to take things back and work on
them deeper.
More more more.
MAINLY MEDEA.
No elaboration yet why Medea. Realisation while working on it (making scenes).

AMELIA:
Fun last week by creating and would like to continue this.
This week: analyze why she keeps going back to the same things.
She has been working mainly with female characters.
Bring a book.
Maybe write some things.
Work with Uriah and Rania maybe.
Idea with a song: maybe georgina can help : work with only body.
Make more scenes, there are already things but there can be more.
Silence retreat? Nobody talks. One day?

 Stefan explains the summerschool exercise.

Looks forward to see more of everyone. More in general.

ELLEN:
I don’t know. Sit with Jonathan about ajax because she likes his universe and is very
interested in it.
Goes back to female characters and also has her questions about it.
There is something the woman in these texts have in common.
Think about how can we make these woman seen and heard? (as a code)
How can we address this problem as woman/ a collective.
Wants to make something with the choir, no matter what it is.

Haider  Did something happen with the song.

No not yet. Ellen wants to talk about it.

Amelia  Also feels the red line and that’s why she wants to add the text from a American
historian: “Men explaining things to me.” She wants to use it. Seperatly or added with text.

Haider really wants to work on the song. If it’s nothing it gets thrown out.

Pepijn:

A scene that is not written in the story of Medea.

He wants to research how and what she would say to her children before she kills them.
How do you stage a killing on stage?
Give the children a voice in the form of a band with the 4 bass players.

 Haider suggests Uriah and Stefan to join because previously they did a scene about the
children of medea.

Uriah: Stefan proposed the idea. He found it interesting but there’s other things that have
his urge and attention more at the moment.

KATO:
Vlogs about Kreon: kreondaily. Daily vlog of Kreon.
Researching how he looks like.
Who is Kreon?
What does he do in his daily life?
She went with pepijn to do a scene in the metro.
Put the text in the here and now.
How does it interact with the here and now.
Would like it people join her so it’s not only Kreon so it can go further than stereotypes.
What if Kreon had sex with Antigone?

 Catalin is interested because he wants to know what happens to Kreon after the play is
finished.
 Work with Uriah on the Antigone scene.
 Likes the idea of Sigi of the press conference with choir texts.

Haider wants Sigi to explain again:

S: Choir in Antigone is the voice of reason. Feels like Kreon could also be the choir. Choir is
divided in opinions. Movie: 12 angry men. Dr. Strangelove. Take pieces of the choir and work
with it as a scene in one room.

Catalin: would like to try live-filming – wants to maybe connect it.

MC:
Rode draad zoals ellen en amelia benoemen.
Relatie tussen Ajax en Tekmessa: hoe kan het switchen (zij wordt heldin ipv Ajax)
Rode draad = de stem van de vrouwen.

GEERT:
Talk in an honest way about work like we talk about feelings.
Thinks about what is his role?
Own urgency – what he needs.
Take a democratic decision on how it will look like.
How do all these things come together (there is a need for an overview)
There are 4 people who help to do it.
Create a group of people who thinks about it and prepares it. (smaller group)
How do things connect with each other?
Put things on the blackboard about what he saw. (startingpoints)
The bringing together of things is very important.

Looking at what is there: there are things missing.

There is a lot of talk about Kreon but we haven’t seen a lot material about him.
What about Kreon?
Marios texted: about extinction rebellion : maybe he can do something with this he
suggested it.
Go deeper into things.
He feels the need to come and to talk.
There were talks about the messenger as a figure. How do you bring things from outside?
Thought about what Haider was saying. Interviews?
Thought he can maybe introduce things from outside and bring them here at 18h.
KREON – THE MESSENGER AND WHO ARE THE GODS?

Haider: we’re talking about a red line – the story of woman there also could be a red line in
movement. Gods are often part of a scene even if they don’t have words. Exercise to think :
how can we portray them? Is it a balloon, a drone, the radio,…? Take it as an exercise: what
to do with these gods?

GEORGINA:
Interested in what moves us. Why is the form you choose the form you choose?
HAIDER:
- The song. Install it.
- When you talk about power it is lyrical. Goes to authority, politics,… But formwise we
can also discover things. Saw a play from Palestine dancing dabke. Everytime one
takes the chord, he is in charge. It was simple and easy but with the background it
was a lot. Research exercise wise what power can do and be and look like. It could
open up a moment to look at it in a different way.
- When he said he had the urge for something concrete – there came to remark to call
it kader ipv structure. We need both – also a dramaturgical line. We have to have a
talk. Happy with the remarks on the red line. Cause it can suggest a structure. Form
wise about the choir search for a signature. It can sing, dance, talk, etc.
- Find a common fire, a common urgency.
- Make scenes because you think : we need that to go on.
Happy with the circle.
Where is the fire?
Let’s not wait too long to go with a kader.

Geert: at a certain moment it’s important to bring things together: to make it psyhisical.

Don’t forget it’s a big group and it takes time to come together with material.
 it will be a movement. It needs to be fixed. We never had the conversation if that Is what
you want to do. Movement: people walking around.

Geert: asks about the choir? Kato proposes to do this everyday after checkout.

Amelia: adds: the movement: is everybody up for it?

Catalin:
Dream was for the audience to go from place to place.
So he thought what if this happens.
Deep urgency: how to translate conflict on stage in this text. How to translate power?

All the examples have a frame to it.

These frames are somehow in this text.

Urge: the translation with not only the text:

- Antigone – ismene
- Kreon monologue
- Kreon – haimoon
- Kreon – teresias
- Antigone monologue
- Kreon epiloog
- Euridice : who is she. (only one without an idea of a mis en scene)

Idea of a mise en scene is a starting point.

How much do you use the text.

Choir idea. With the sign language.

Interested in medea killing the boys.

About the place: what to put where.

GEERT: Remembers everyone about the Tuesdays and Fridays.

Has a longing for people to come in and work.