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Holland Festival 'Tis Pit Y She's a Whore Decl An ’tis PITY she’s a whore HOLLAND FESTIVAL DECLAN DONNELLAN, NICK ORMEROD, CHEEK BY JOWL INHOUD / CONTENT INFO CREDITS stemcoach / voice coach Emma Woodvine Info 4 data / dates tekst / text gevechtsregie / fight director Credits 5 zo 15, ma 16 juni 2014 John Ford Bret Yount Sun 15, Mon 16 June 2014 regie / direction supervisie kostuums / costume nederlands locatie / venue Declan Donnellan supervisor Voor het stuk begint 6 Theater Bellevue ontwerp / design Angie Burns Hunkerend de afgrond in aanvang / starting time Nick Ormerod stage manager techniek / technical Daniël Bertina 6 20.30 uur mede- en bewegingsregisseur / stage Naar binnen kijken: ’Tis Pity en 8.30 pm associate & movement director manager de vroegmoderne tijd duur / running time Jane Gibson Robin Smith Kim Solga 8 2 uur, zonder pauze licht / light deputy stage manager Biografieën 10 2 hours, no interval Judith Greenwood Clare Loxley taal / language muziek, geluid / music, sound lichttechniek / lighting english Engels met Nederlandse boventiteling Nick Powell David Salter Before the play starts 13 English with Dutch surtitles regieassistent / assistant director geluidstechniek / sound Passionately Courting Disaster inleiding Paris Erotokritou Morgan Rogers Daniël Bertina 13 door by Judith Wendel supervisie kostuums / costume assistent stage manager / assistant Seeing Inside: ’Tis Pity and the Early 19.45 uur supervisor stage manager Moderns 7.45 pm Angie Burns Angela Garrick Kim Solga 15 meet the artist zakelijk leider / company manager supervisie muziek / music supervisor Biographies 16 met with Paris Erotokritou (regieassistent Tim Speechley Peter Moreton assistant director) technische leiding / technical stage productiefotografie / production zo 15.6, na de voorstelling manager photography Sun 15.6, after the performance Robin Smith Manuel Harlan moderator Judith Wendel manager kleding / wardrobe manager productie / production websites Victoria Youngson Cheek by Jowl www.cheekbyjowl.com cast coproductie / coproduction Will Alexander (Vasques) Barbican, London David Collings (Florio) Les Gémeaux/Sceaux/Scène nationale Ryan Ellsworth (Donado) Sydney Festival Ruth Everett (Hippolita) wereldpremière / world premiere Jimmy Fairhurst (Gratiano) Parijs, 30.11.2011 Orlando James (Giovanni) Sam McArdle (Grimaldi) Peter Moreton (Cardinal / Doctor) Eve Ponsonby (Annabella) Nicola Sanderson (Putana) Maximilien Seweryn (Soranzo) Raphael Sowole (Friar) hoofd casting / casting director Siobhan Bracke 4 5 VOOR HET STUK BEGINT HUNKEREND DE AFGROND IN In de decadente samenleving waarin het stuk dans­ en bewegingssequenties. Los van zich afspeelt – de koopmansstad Parma, met deze theatrale vondsten is het duidelijk dat, De slimme geleerde Giovanni, de zoon Wereldwijd zijn er bibliotheken volgeschre­ sterke familiebanden, protserig decorum, bijna 400 jaar na dato, de essentie van Fords van Florio, is na een studie aan de univer­ ven over onmogelijke liefdes die eindigen in extreem materialisme en erecodes – vormt toneelstuk niets aan kracht heeft ingeboet. siteit samen met zijn leermeester de Pater een bloedbad, met William Shakespeares de zuivere, intense liefde tussen Giovanni Tegelijkertijd heeft ’Tis Pity She’s a Whore teruggekeerd naar zijn woonplaats Parma. Romeo en Juliet als bekendste voorbeeld. en Annabella een rechtstreekse bedreiging in de bewerking van Donnellan een extra Tijdens zijn afwezigheid heeft zijn zuster Maar John Fords broeierige tragedie ’Tis Pity van de traditionele normen en waarden. verontrustende laag meegekregen. De Annabella diverse aanbidders gekregen. She’s a Whore – tot stand gekomen tussen Nadat ze hun liefde en lust op elkaar hebben regisseur leerde het stuk dertig jaar gele­ Florio wil graag dat Annabella trouwt, en hij 1629 en 1633, ongeveer 20 jaar na de dood botgevierd en Annabella zwanger raakt, is er den kennen. Toen draaide het voor hem, beschouwt de edelman Soranzo als de ideale van de Grote Bard – is een van de eerste voor hen geen enkel houvast meer. Na hun naar eigen zeggen, om onbegrepen liefde schoonzoon. Niets lijkt een huwelijk in de toneelstukken uit die periode van de Angel­ vrijpartij, willens en wetens begaan, staan en de onderdrukking van vrouwen door weg te staan. Bij het begin van het toneelstuk saksische theatergeschiedenis waarin de ze volledig buiten de sociale kaders. Ford de overheersende mannelijke, katholieke lijkt er toch nog iets te broeien, waardoor liefde tussen de twee hoofdpersonages écht veroordeelt hun gedrag niet en pleit ze ook samenleving. Die thema’s zijn nu meer naar alles anders loopt: Giovanni’s ware gevoelens tegen alle sociale conventies in ging. En ook niet vrij. Hij toont het alleen. Broer en zus de achtergrond verdwenen. De drie (en de voor zijn zuster. in onze tijd is het centrale thema van het stuk hebben weliswaar zuivere intenties, maar de enige) vrouwen in het stuk – Annabella, nog steeds een groot taboe: incest. Giovanni schrijver biedt hen vervolgens geen uitweg. Hippolita en Putana – gaan nog steeds al­ en Annabella, broer en zus uit een welge­ Ze verzinken in diepe verwarring en wan­ lemaal op een gruwelijke wijze ten onder aan stelde familie in Parma, willen én nemen hoop. Hun rebellie is niet bestand tegen de de grillen van maniakale mannen, maar lijken elkaar. Ze roepen daarmee de diepe verontwaar­ gevestigde orde, het is onmogelijk om samen ook door hun eigen obsessies en fantasieën diging van familie, vrienden, samenleving en te blijven. Annabella zet een punt achter hun tragische noodlot zelf in de hand te kerk over zich af. Met desastreuze gevolgen. haar fantasieën over de volmaakte liefde en werken. Dit allemaal in een zeer welvarende, In zijn stuk gebruikt Ford het thema incest probeert nog enigszins de situatie te redden tot op het bot verrotte samenleving waarin echter niet uit sensatiezucht. De subtiele door het huwelijksverzoek van Soranzo te de sociale grenzen langzaam vervagen, maar tekst toont de oprechte hunkering én liefde accepteren. Maar Giovanni kan zijn liefde uiteindelijk toch de mannen (met God aan – hoe verwrongen dan ook – die aan hun niet loslaten, en radicaliseert. Zo gaan broer hun zijde) het voor het zeggen hebben. ’Tis relatie ten grondslag ligt, als een onbe­ en zus de afgrond in. Pity She’s a Whore stelt zo de toeschouwer dwingbare oerkracht waar ze aan moeten Regisseur Declan Donnellan en vormgever ongemakkelijke vragen over de essentie van toegeven; die niet valt weg te redeneren. Als Nick Ormerod van het Britse theatergezel­ ware liefde en menselijke relaties, de grenzen een vloedgolf van passie en fantasie, maar schap Cheek by Jowl plaatsen ’Tis Pity She’s van acceptabel gedrag in de samenleving, en vooral wederzijdse obsessie, die beiden mee­ a Whore in een hedendaagse setting, met een de manier waarop de heersende moraal het sleurt. Broer en zus zitten klem tussen hun gestileerde slaapkamer met filmposters en alledaagse leven bepaalt. verwoestende driften en de hypocriete mores een bloedrood bed als theaterruimte, eigen­ van de samenleving. tijdse kleding en kapsels, en een soundscape Tekst: Daniël Bertina Want hun omgeving staat op scherp. De van hiphop, lounge­ en dancemuziek. Het Pater waarschuwt voor Gods toorn, vader stuk is geschreven als tragedie, maar krijgt Bronnen: Florio wil zijn dochter uithuwelijken aan de in de versie van Cheek by Jowl dankzij het Symons, Emma­Kate. ‘Declan Donnellan is a pedante edelman Soranzo – die daarbij op virtuoze spel ook een zwart komische, licht Citizen of the World’. The Australian, 31 december het hart trapt van zijn eerdere vlam: de wedu­ ironische ondertoon. Daarnaast worden de 2011. Internet. http://www.theaustralian.com.au/ we Hippolita. Terwijl Annabella’s loslippige uitbundige fantasieën van de personages, arts/review/declan­donnellan­is­a­citizen­of­the­ dienstmeid Putana en Soranzo’s meedogen­ zoals verwoord in hun razende monologen world/story­fn9n8gph­1226231891299# loze dienstbode Vasques de belangen van – van paranoïde tirades tot uitingen van hun meesters proberen te behartigen. sublieme liefde­ uitgebeeld in verrassende, vaak geestige en strak gechoreografeerde 6 7 Naar binnen kijken: ’TIS PITY van ’Tis Pity. In wat voor soort theater be­ Misschien was de onderliggende klassen­ EN DE VROEGMODERNE TIJD vinden we ons? Beestons Phoenix was een politiek van ‘Tis Pity veel verontrustender voormalige arena voor hanengevechten, op­ voor het publiek dan de incestueuze relatie De vroegmoderne geschiedenis van ’Tis Pity gekocht in 1616, omgebouwd en heropend in tussen broer en zus: voor hooggeplaatste She’s a Whore (1629­1633) wordt gekenmerkt 1617. Glynne Wickham noemde het de eerste families in het vroegmoderne Europa was door meer mysterie dan schandaal (de gang­ professionele schouwburg in de West End. een endogaam huwelijk niets bijzonders. bare, hedendaagse reactie op het werk): we In die tijd stond alleen Blackfriars Theatre Echter, Annabella en Giovanni zijn bour­ weten bijna niets over hoe het stuk indertijd in hoger aanzien. Beide theaters trokken geois, niet van adel. In die tijd, de jaren 1630, is ontvangen; we kunnen zelfs niet achter­- een vergelijkbaar publiek: dus wij, als bezoe­ dreigde in Engeland een maatschappelijke halen wanneer het voor het eerst is opgevoerd. kers, worden in de Phoenix omgeven door crisis, en het gedrag van broer en zus staat Hoewel het vaststaat dat dit toneelstuk van welgestelde en geletterde dames en heren, hierbij symbool voor een culturele omwente­ John Ford (1586­ ca. 1639) in 1633 werd naast geleerde edellieden, zeer vermoedelijk ling die veel ingrijpender
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