Mehr Informationen zu «Fruits of Labor» von MIet Warlop
©ReinoutHiel (Szene Fruits of Labor)
“To balance in a couple, to dance in a duo and hug in a trio, to move a heavy object, to cry in a group like a football team, to kiss the air we breathe, to run or hold together, to talk until we reach silence, to be darlings, friends, honeys and dearests. To reach ecstasy. Building up and down in search of how to break through to an atmosphere in which we vaporise and become one with all and love it.” (Miet Warlop)
(Auszüge von Songtexten in «Fruits of Labor»)
FUCKING FLOWER
Lets try to go beyond
leaning
over the balcony of language
we think we are
excited
excited
and exciting
advertising advertising advertising
we imagine different faces
and have a obsession for hands,
hands for us are your golden tool
for erotic reasons
but also
to achieve
to reach out
to save
to care
and to agree
we drinks out of vases
we believe we need to grow
actively
and stay fresh
like a fucking flower
what bothers us is the great uncanny
it becomes bigger
bigger then reality
and terrify us
Lets try to go beyond
leaning
over the balcony of language
we think we are
excited
excited
and exciting
advertising advertising advertising
EMBARRASSING
we provoked a collective embarrassment
I know
that you know
what I know,
what we know
for now
the general formula of
embarrassment
frozen
unspoken
as the symptom of the conscious.
embarrasing
©ReinoutHiel (Szene Fruits of Labor)
FRUITS OF LABOR
originates in an idea that emerged during the previous show DRAGGING THE BONE: the oldest joke in the world is a stone that encases the very first burst of laugher on earth. That laughter is the intangible and immaterial energy that unites us all–transcending generations and religions. It is the experience of activated time, a past that resonates in the present.
Fruits Of Labor evolves around a drum set whose rhythmic beats dominate the soundtrack and ultimately affect everybody. Sounds and images create landscapes with a variety of pulses and patterns. Several strikes go against the beat as scenes unfold and surpass their scientific limitations.
The show deals with physics, with the laws of gravity that influence our lives and with the ways in which we look for the balance that might make us better human beings. Yoga, Yoghurt and Young are part of the spiritual mess that we engage in. But slowly we see how a light object can counterbalance a heavy one and how a simple device can save a complex one from being too sophisticated.
At the core of the stage is a monumental mobile. ‘Monumental’ does not refer to its initial size, but to its ambition to engulf every object that enters the scene. Only at the end of the show the colossal construction finds its balance, while objects are challenging the laws of gravity and performers transform into costumes, props or sculptures. Three performers and two musicians share the directness of the experience with the audience. The end scene unites the props, performers and musicians in one gigantic whirlpool, not unlike at a deep-night concert. This will not be a detached vision of madness but rather an image of hope that helps us cope with things that happen in our lives, and explores their origins and effects through experiments with natural sciences.
©ReinoutHiel (Szene Fruits of Labor)
THOUGHTS ON A BILLIONAIRE (parlando)
walking big steps trough the brooks
dredging from the bottom trough the mud
with my rubber boots
then you pass by on
on a beautiful bay
licking from a golden fish fillet
on your big fat boat
you wish you could buy the sun
but
your hands are digging diamonds
your tongue is slurping slogans
licking love
from your marble floor
because
nobody loves you
nobody loves you
you look like your secret
your face has the gaze of fiction
oh poor gangster you don't even have a gun
you're like love without falling
like a beer with no alcohol
a plastic pillow
bad designed for ever
And that is why nobody will love you for ever
(ROMANCE WITH) UNCHAINED MELODY
(cover Righteous Brothers)
Oh, my love, my darling
I've hungered for your touch
A long, lonely time
Time goes by so slowly
And time can do so much
Are you still mine?
I need your love
I need your love
God speed your love to me
Lonely rivers flow
To the sea, to the sea
To the open arms of the sea
Lonely rivers sigh
"Wait for me, wait for me"
I'll be coming home, wait for me
Oh, my love, my darling
I've hungered, for your touch
A long, lonely time
Time goes by so slowly
And time can do so much
Are you still mine?
I need your love
I need your love
God speed your love to me
TELL ME
tell me!
is this my world?
where i belong
CosynsLyrics: Miet Warlop
©MietWarlop
Miet Warlop
geboren 1978 in Torhout, Belgien, arbeitet Miet Warlop als Künstlerin und Choreographin zwischen Ghent, Brüssel und Berlin. Miet Warlop studierte Visual Arts an der Royal Academy of Fine Arts in Gent (Belgien). Nach ihrem Master gewann sie den Young Theatre Award für ihre Abschlussperformance „Huilend Hert, Aangeschoten Wild“ („Weinender Hirsch, Angeschossenes Wild“). Zahlreiche Performances, Aktionen und Interventionen folgten, unter anderem bei Campo, dem Flemish-Dutch Theatre Festival, dem Kunstenfestivaldesarts und der Beursschouwburg Brüssel. Ihre Arbeiten wurden bereits in zahlreichen Galerien europaweit ausgestellt, außerdem entwarf sie Räume für die Koninklijke Vlaamse Schouwburg Brüssel, les ballets C de la B und das Kunstencentrum Vooruit Gent. Miet Warlop hat mehrere Preise für ihre Arbeit erhalten, u.a. für Mystery Magnet den Stückemarkt Theatertreffen Preis bei den Berliner Festspielen für neue Formen im Theater. Ihre neueste Arbeit «Fruits of Labor» hatte 2016 bei den Kunstenfestivaldesarts in Brüssel Premiere und tourt seitdem international.
Miet Warlop an der Gessnerallee
Mystery Magnet (2014)
Dragging the Bone (2015, Keine Disziplin)