AUGUSTUS Ergens Op De Vlakte

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AUGUSTUS Ergens Op De Vlakte Toneelhuis, KVS en NTGent Olympique Dramatique AUGUSTUS ergens op de vlakte This is the way the world ends Not with a bang but a whimper (T.S. Eliot) I long to see the morning light Coloring your face so dreamily. So don’t you go and say goodbye, You can lay your worries down and stay with me. (Eric Clapton) tekst Tracy Letts vertaling, bewerking en regie Tom Dewispelaere, Stijn Van Opstal spel Nona Buhrs, Gilda De Bal, Sofie Decleir, Mieke De Groote, Els Dottermans, Frank Focketyn, Sanne Samina Hanssen, Ben Segers, Willy Thomas, Johan Van Assche, Geert Van Rampelberg, Mieke Verdin dramaturgie Koen Haagdorens regie-assistentie Guy Cassiers, Lut Lievens vormgeving Stijn Van Opstal, Tom Dewispelaere, Guy Cassiers, Thomas Walgrave kostuumontwerp Ilse Vandenbussche lichtontwerp Thomas Walgrave productieleiding Stefaan Deldaele tourmanagement Mien Muys technische productieleiding Joost Man lichttechniek Lucas van Haesbroeck geluidstechniek Jef Verbeeck / Jeroen Kenens decortechniek Anton Leysen kleedster Monique Van Hassel, Kathleen Van Mechelen stage regie-assistentie Anne-Lieke Terpstra techniek Bourla Koen Deveux, Henk Vandecaveye, Manu Desmyter, Filip Van Berendoncks, Maarten Meeussen uitvoering decor decoratelier Toneelhuis Karl Schneider, Patrick Jacobs, Jan Palinckx, Frederik Liekens, Marjan Verachtert uitvoering kostuums kostuumatelier Toneelhuis Christiane De Feyter, Erna Van Goethem met dank aan Jules Moens, Tom Liekens productie Toneelhuis, KVS, NTGent In 1977 brengt Eric Clapton zijn legendarische plaat Slowhand uit. Slowhand was een wedergeboorte, niet alleen muzikaal. Clapton – begin de jaren zeventig een wereldster – overwon een heroïneverslaving, alvo- rens hij zich muzikaal ging herbronnen in de Tulsa sound, afkomstig uit de staat Oklahoma in het zuiden van de VS. Slowhand opent in dit licht nogal veelbetekenend met een cover van Cocaine, een nummer van de eveneens uit Oklahoma afkomstige JJ Cale. Het derde nummer van de plaat was Lay Down Sally, een nogal vrolijke country blues over iemand die zijn geliefde probeert te overtuigen om te blijven. Het num- mer werd een wereldhit en vond zo zijn weg naar honderdduizenden huiskamers. Waaronder die van Violet Weston uit Oklahoma. Vrouw van een plaatselijke beroemdheid, de dichter Beverly Weston. Jonge moeder van drie dochters: Barbara, Ivy en Karen. En hoofdpersonage in Tracy Letts’ August: Osage County. De Amerikaanse theaterauteur, filmscenarist en acteur Tracy Letts werd in 1965 geboren in Tulsa, Okla- homa. August: Osage County (2007) is zijn vierde theatertekst. Het stuk werd kort na publicatie bekroond met de Pulitzer Prize for Drama (waardoor Letts in het rijtje met Albee en O’Neill komt te staan, met wie hij wel eens wordt vergeleken). Later bewerkte Letts het voor de met nominaties en prijzen overladen filmver- sie die vorig jaar in onze cinema’s te zien was. Voor het schrijven van August baseerde hij zich, veel meer dan in zijn ander werk, op gebeurtenissen uit zijn eigen leven. Letts stamt uit een gezin van drie kinderen, zijn vader was docent Engels aan de universiteit, dat soort dingen. Maar vooral: grootvader verdronk zich toen Letts tien jaar oud was, grootmoeder werd geïnterneerd door een zware verslaving aan anti-depressiva, zowel Letts zelf als zijn moeder vochten een strijd uit met een alcoholverslaving… Deze, en nog vele andere autobiografische feiten, vonden hun weg naar het verhaal van August: Osage County, waarin de verslaafde Violet het zo bont maakt dat ze door alledrie haar dochters wordt verlaten. Nadat Letts het stuk had voltooid, gaf hij het te lezen aan zijn moeder, een bekende schrijfster en linkse activiste uit Oklahoma. Haar eerste reactie: ‘I think you’ve been very kind to my mum.’ August lijkt de definitieve afrekening van een auteur met zijn ontwrichte kindertijd. Dat mag zo zijn, maar August laat zich vooral lezen als een gitzwarte analyse van de generatie der babyboomers. ‘The wealthiest, most active, and most physically fit generation up to that time, and amongst the first to grow up genuinely expecting the world to improve with time’, aldus Landon Jones in Great Expectations: America and the Baby Boom Generation (1980): een gezonde, blakende, welstellende en optimistische generatie. Van die definitie blijft in het geval van Violet en haar gezin, op de materiële welvaart na, niet veel overeind. We zien vooral kapotte relaties, ongelukkige liefdes, eenzame mensen. Violet belichaamt de ontgoocheling van een gene- ratie die ervan uitging dat de geschiedenis van na de Tweede Wereldoorlog er een zou zijn van vooruitgang, verbetering en hoop. En die dat vertrouwen uitdrukte in het verwekken van een kroostrijk gezin. Violets dochters blijven nagenoeg kinderloos en dat zegt iets. Haar enige kleinkind Jean krijgt de erfenis van alle voorgaande generaties geserveerd: Jean kijkt aan tegen een groep dwalende volwassenen met een soms bedenkelijk moreel normbesef. Letts heeft een verklaring voor die desintegratie. Violet en Beverly groeiden allebei op in armoede, historisch te duiden als een gevolg van de vernietigende stofstormen die de VS in de jaren dertig teisterden (de dirty thirties). Armoede slaat diepe wonden, en die raken niet in één generatie geheeld. In het wereldbeeld van Letts heeft de tijd een trage loop en duurt het generaties alvorens de dingen een plek vinden. De naoorlogse welvaart bracht niet de verhoopte redding. Op een verloren moment legt Violet ter verdoving Lay Down Sally op de draaitafel. Het klinkt als een voorbije droom. De vervlogen hoop dat de liefde verlossing kan brengen. De hoop ook op een nieuw begin, een tweede kans. Dit staat in fel contrast met een tweede tekst die Letts laat resoneren in zijn stuk: The Hollow Men van T.S. Eliot, waaruit Letts meermaals in het stuk citeert. In dit gedicht uit 1925 schetste Eliot het klimaat van na de Eerste Wereldoorlog: de uitzichtloosheid van een uitgeholde, verloren generatie die langzaam uitdooft. Eliot drukte in het gedicht ook zijn persoonlijke morele zoektocht uit, wellicht mee het gevolg van zijn eigen huwelijksproblemen. Het slot van The Hollow Men klinkt als een stotterend gebed – een verre echo van een tanend geloof, door Tracy Letts fijntjes hertaald in het tafelgebed van Charlie. Letts maakt vanThe Hollow Men de lijftekst van Beverly, die in tegenstelling tot zijn vrouw de vechtlust heeft opgegeven. ‘Life is very long’… Dit gezegd zijnde, August: Osage County is, naast een donkere cultuurkritiek, vooral ook een komedie. Een – voor sommigen – spreekwoordelijk feest van her- kenning. Hoop projecteert Letts op het personages van Johnna, een jonge vrouw met indianenroots die, in tegenstelling tot de anderen, haar plaats heeft gevonden en haar afkomst koestert. Een niet mis te verstaan statement over de verzuchting dat er toch iemand de zaak moet komen redden. Wat de andere personages – en het publiek – betreft, stuurt Letts aan op een gezonde dosis introspectie. Letts: ‘the truth is: these characters are all representatives of me, they’re all part of me.’ Koen Haagdorens © Kurt Van der Elst T.S. Eliot: The Hollow Men A Penny for the Old Guy 1. 4. We are the hollow men The eyes are not here We are the stuffed men There are no eyes here Leaning together In this valley of dying stars Headpiece filled with straw. Alas! In this hollow valley Our dried voices, when This broken jaw of our lost kingdoms We whisper together Are quiet and meaningless In this last of meeting places As wind in dry grass We grope together Or rats’ feet over broken glass And avoid speech In our dry cellar Gathered on this beach of the tumid river Shape without form, shade without colour, Sightless, unless Paralysed force, gesture without motion; The eyes reappear Those who have crossed As the perpetual star With direct eyes, to death’s other Kingdom Multifoliate rose Remember us – if at all – not as lost Of death’s twilight kingdom Violent souls, but only The hope only As the hollow men Of empty men. The stuffed men. 5. 2. Here we go round the prickly pear Eyes I dare not meet in dreams Prickly pear prickly pear In death’s dream kingdom Here we go round the prickly pear These do not appear: At five o’clock in the morning. There, the eyes are Sunlight on a broken column Between the idea There, is a tree swinging And the reality And voices are Between the motion In the wind’s singing And the act More distant and more solemn Falls the Shadow Than a fading star. For Thine is the Kingdom Let me be no nearer Between the conception In death’s dream kingdom And the creation Let me also wear Between the emotion Such deliberate disguises And the response Rat’s coat, crowskin, crossed staves Falls the Shadow In a field Life is very long Behaving as the wind behaves No nearer – Between the desire And the spasm Not that final meeting Between the potency In the twilight kingdom And the existence Between the essence 3. And the descent This is the dead land Falls the Shadow This is cactus land For Thine is the Kingdom Here the stone images Are raised, here they receive For Thine is The supplication of a dead man’s hand Life is Under the twinkle of a fading star. For Thine is the It is like this This is the way the world ends In death’s other kingdom This is the way the world ends Waking alone This is the way the world ends At the hour when we are Not with a bang but a whimper. Trembling with tenderness Lips that would kiss From prayers to broken stone. Toneelhuis werkt met subsidies van de stad Antwerpen en de Vlaamse Overheid. Scènefoto Kurt Van der Elst .
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