Day XIII - rehearsal 'there is no why here' from 11 untill 22 May - 'fine-tune'

Woensdag 20 mei 2015

As the rehearsals progress, Wouter wants to digg deeper into details. Scenes are repeated, discussed and fine-tuned until everything falls into place. Although there is not one, unique version of – there is no why -, its important to set out ques and dramaturgic lines, so music, actions, text and video come to harmony. 

While the Brussels Philhamonic Orchestra is not present today, Andrea Molino is conducting the whole performance. It’s funny to watch him go wild without musicians, but his presence is highly necessary to find your way into the labyrint of music and sounds, only represented by a piano today. Also David Moss with his wonderful voice, is focussed on Andreas gestures. The overwhelming music and compulsing actions turn into a moment of rest when Anna Linardou starts singing a Greek lullaby. A magical moment and the only real singing we’ll hear today.

The evening brings the extras along to focus on the ‘wall scene’ and the ‘final scene’ of the performance. After a warming-up for voice and body by 'training coach' Wouter Van Looy, the ‘wall scene’ is taken under the microscope. The goal for today: focussing on the positions, directions and actions of the performers. This scene starts with Annelinde, summerising the things you should know about ‘a brick’, while the extras, one by one, entering the stage, looking for the best material to build a wall. Suddenly a ball is thrown over the wall. The beginning of a volleyball game with unknown opponents on the other side. The wall, that seperates people from each other in the world, suddenly become an object of joy and community.

Finally the ‘final scene’ of – there is no why here – is coming up. An apotheosis where music, video, text and movements come together in an explosive theater moment. Starting with a ‘life’ portret of the performers, Wouter points out some attentions on positions and actions. 'The whole stage must be used and actions have to be personal but in harmony with the group as a community', he explains. This is also the scene where the virtual chorus comes in and swells out into a swarm of images and voices. As the end is near, everybody gathers in a dence group, proclaiming the same text, almost like a protest. You can see that most of the extras still struggle with the text. ‘Do we have a happy director?’, Aline asks at the end of the day. Wouter confirms. ‘If the extras promise to work some more on the final text, I’ll be very happy.’

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