{"id":2906,"date":"2021-10-05T16:33:08","date_gmt":"2021-10-05T14:33:08","guid":{"rendered":"http:\/\/hiros.alwaysdata.net\/project\/beckett-op-zijn-plaats\/"},"modified":"2021-10-14T16:47:39","modified_gmt":"2021-10-14T14:47:39","slug":"beckett-op-zijn-plaats","status":"publish","type":"project","link":"https:\/\/hiros.be\/en\/project\/beckett-op-zijn-plaats\/","title":{"rendered":"Beckett op zijn plaats"},"content":{"rendered":"<p>The theme of the performance consists of this action. What is more, it is the performance itself. <\/p>\n<p>Voluntary  participants are asked to wait in a certain place in public space, for a  certain lapse of time. Arranged in a geometric pattern, they are  silently passed on to the hands of time. This permeable army formation  provides a sharp contrast with the speed of life with which hundreds of  passers-by cross them. <\/p>\n<p>In this exciting manner, the boundaries  of theatre are exceeded. \u201cAre Leentje Vandenbussche&#8217;s installations in  public space physical? Are the extra&#8217;s she invites performers or rather  actours? Is the coincidental passer-by part of the performance or part  of the public? And so on. Fascinating questions that prove that the  intrinsic themes from the classic <em>Waiting for Godot<\/em>  have, in the year 2006, not yet been robbed of their relevance \u2013  providing they be formulated in a contemporary fashion. Which is what  Vandenbussche does: &#8220;<em>Alles en Niets<\/em>\/<em>All and Nothing<\/em> raises the action of waiting to the level of discussion.&#8221; (Steven Heene, program director TAZ\/Theatre By The Sea)<\/p>\n<p>First performed in  Ghent on Samuel Beckett&#8217;s one hundredth birthday, April 13th, 2006. <br \/><em>Becket in his place<\/em> is the first part of the diptych <em>All and Nothing<\/em>.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>The theme of the performance consists of this action. 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