Day III - rehearsal 'there is no why here' - from 11 untill 22 May - killing mother

Maandag 18 mei 2015

Andrea Molino joins the group with the announcement that his morning rehearsal in Brussels with the Brussels Philharmonic went great: the orchestra is well-prepared and fun to work with.  Wouter tells that he had the chance to get to know some of the extras better  last evening and that he thought it was so wonderful to hear how some of them really connected to the themes of the performance. With such nice experiences to share, everybody is ready and inspired to start a new day of WORK!

For the first part of this repetition both directors decide to continue working with Annelinde and Aline on the ‘killing mother’ scene. This scene which depicts the unspeakable - a mother taking the life of her own children – is because of the achieved intensity for me personally the most powerful, stirring part of ‘THERE IS NO WHY HERE’. In this fragment Aline and Annelinde combine pieces of text with guttural and other vocal sounds to express the unthinkable act of a mother … , while a lullaby is sung by Anna Linardou. Their vocal expressions are also backed up by a small, sometimes rhythmic, choreography of the hands, arms, … and of some small rocks. Together with Wouter they search for a way to render ‘this character’ a bit more dramatic while keeping it minimalistic enough. Andrea adds that it’s important to portrait this figures as deeply human but totally disconnected: there’s an irreconcilable gap between their words and the world they are fixed in. The rehearsal of this almost breathtaking scene ends with a very beautiful result.

After a short break, work starts again with the modification of the beginning of the ‘wall scene’. Wouter wants to make some adjustments in order to strengthen the relation of the three vocalists with the projected video on the screen. He gives Annelinde, Sander and Aline several suggestions to experiment with, such as reacting on the things that happen before these walls - the cars or people passing by . After ‘entering the rubbish’ into the playing field, the performers can also integrate this material in their improvisations. Wouter is very happy with the energy of this almost meditative – short - scene in which timing, fragility and a minimalistic approach are the key: “I could stay and watch this for 10 minutes more”. 

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