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Theatre

Bruegel

Lisaboa Houbrechts

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Dulle Griet takes you on a trip through time. A kaleidoscopic portrait of Pieter Bruegel the Elder and the era in which he painted her. 

After the daring 1095 (2017) and the controversial Hamlet (2018), Lisaboa Houbrechts is again plunging into history with the new Bruegel.

1095 took us to the dark world of the Crusades, while the loose adaptation of Hamlet was a surprising family portrait, sometimes intimate, other times frenzied. Lisaboa always challenges her performers to adopt varied styles of playing that are allowed to grate and clash.

With Bruegel, Lisaboa Houbrechts has written a kaleidoscopic portrait of Pieter Bruegel the Elder and the era in which he created Dulle Griet. In this production, the character taking the viewer on a trip through time is Dulle Griet, a woman who is denigrated as a ‘battle-axe’ because she supposedly steals objects for hell. But what if she is not stealing those objects but actually trying to save them? Lisaboa Houbrechts’ narrative is based on those lost objects.

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Lisaboa Houbrechts:
“Stories about our history are hidden behind closed doors. They have been manipulated, rubbed out, forgotten or reduced to a clear and simple event. With Bruegel, therefore, I am building a big web around a number of hypothetical objects that have come down to us from the Low Lands, a region which at the time was torn by religious conflict, famine and the slow eruption of the Little Ice Age. I take a specific look at Bruegel’s work, the relation between the personal, the political and the Golden Age – an era that rose up like a tidal wave and dramatically splashed down further ahead.”

Credits

text and direction

  • Lisaboa Houbrechts

with

  • Rand Abou Fakher
  • Louise Bergez
  • Romy Louise Lauwers
  • Lobke Leirens
  • Andrew Van Ostade
  • Anne-Laure Vandeputte

directing assistance, dramaturgy

  • Pauwel Hertmans

music

  • Mostafa Taleb (kamancheh, compositie)
  • Harmonia Sacra: Jérôme Bertier (orgel, klavecimbel, arrangement)
  • Florent Baffi (zang)
  • Capucine Meens (zang)
  • Stéphanie Révillion (zang)

scenography

  • Oscar van der Put

costumes

  • Kasia Mielczarek

light design

  • Oscar van der Put
  • Carlo Bourguignon

production management

  • Celine van der Poel

technische productieleiding, licht

  • Diederik Suykens

sound

  • Paul Van Caudenberg

production

  • Toneelhuis
  • Kuiperskaai

ontwikkeld in

  • Co-Labo

coproduction

  • Le Phénix, Scène nationale de Valenciennes
  • Needcompany
  • La Villette, Paris

thanks to

  • KMSKA
  • LLS Paleis ruimte voor actuele kunst

with the support of

  • Tax Shelter maatregel v/d Belgische Federale Overheid
  • Casa Kafka Pictures Tax Shelter empowered by Belfius
  • culturele samenwerking Vlaamse Gemeenschap en Regio Hauts-de-France

All data

  1. Friday 6 December 2019 — 20U00 — Bourlaschouwburg, Antwerp
  2. Saturday 7 December 2019 — 20U00 — Bourlaschouwburg, Antwerp Aftertalk in the auditorium
  3. Sunday 8 December 2019 — 15U00 — Bourlaschouwburg, Antwerp Audio description - Toneelhuisatelier
  4. Thursday 19 December 2019 — 20U00 — Bourlaschouwburg, Antwerp Introduction at 7:15 PM - Aftertalk in the auditorium
  5. Friday 20 December 2019 — 20U00 — Bourlaschouwburg, Antwerp Introduction at 7:15 PM
  6. Saturday 21 December 2019 — 20U00 — Bourlaschouwburg, Antwerp
  7. Wednesday 15 January 2020 — CC De Werf, Aalst, Aalst
  8. Tuesday 4 February 2020 — Cultuurcentrum Brugge, Brugge
  9. Tuesday 18 February 2020 — KVS - BOL, Brussels
  10. Thursday 20 February 2020 — NTGent - schouwburg, Gent
  11. Thursday 26 March 2020 — La Villette, Paris
  12. Friday 27 March 2020 — La Villette, Paris
  13. Saturday 28 March 2020 — La Villette, Paris
  14. Monday 6 April 2020 — 19U30 — Grote zaal ITA, Amsterdam
  15. Thursday 16 April 2020 — De Grote Post, Oostende
  16. Tuesday 5 May 2020 — Le Phénix, Valenciennes
  17. Wednesday 27 May 2020 — 30CC, Leuven

Nieuws over ‘Bruegel’

Article — 24 September 2019

P.U.L.S. in Paris!

The Théâtre de la Bastille in Paris has followed Flemish theatre for over thirty years. Toneelhuis was a guest there with Orlando in 2013 and again in 2015 with Bezonken rood. Fascinated by the vitality of Flemish theatre, the Théâtre de la Bastille is now following the P.U.L.S. project and presenting it to its audience.

 

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