about the production
The world depends on fossil fuels. ... Important will be the date on which oil- and gasreserves will reach their 'peak'. ... The fact that the bottom of the barrel has become visible will raise the price and with this it will make the development and use of renewable energy sources more necessary and realistic. ... The transition to a hydrogen economy seems most likely. Already now, billions of dollars have been invested in the research and development of technologies by space industry, army, universities, the automotive industry and the oil multinationals. ... Hydrogen is clean. It produces only water. Nonetheless the electrolytic process to separate hydrogen from oxygen needs energy. The rentability is a bit better than those of fossil fuels, but not impressive. Alone when produced by renewable sources hydrogen becomes 100% safe for the environment. Not only for the environment. Hydrogen can become a blessing for the sunny-, windy- and mountain-rich parts of the world, which are mostly in third world areas... KNOWH20W is a political piece. Not only because of it's content but especially because of the esthetical use of a space (energy production), from which many were excluded. In KNOWH20W – POWERTOTHEPEOPLE we want to make an area admissible (the literary Power to the people area) by means of the arts, an area of which they have been deprived and repressed... An important part of my work is focussed on strengthening the independence of the spectators by approaching them as free and independent thinking and deciding creatures... Industry and marketing with the help of the stultifying entertainment industry numbed the consumer. Everything that can help to break this lethargy is my friend. Power to the people. Question. But can't you better make some documentary out of this? This won't fit theatre? Not to speak about the many documentaries and journal pages which have been issued already on this subject, I do hope that by making political pieces like TODAYulysses (staged in Brussels, Munich, Rotterdam, Frankfurt, Ljubljana, Bologna, Novi Sad, Zagreb, Oslo, Stockholm, Bergen, Lisbon) and PIPELINES, a construction (staged in Brussels, Rotterdam, Munich, Frankfurt, Stuttgart, Berlin, Vienna, Basel, Tallinn and Utrecht) I showed that it makes sense to question if the medium Theatre can be used for other than psychological and narrative contents. Even that it might suit other 'contents' better especially in times where Theatre is the only place for live confrontations. After PIPELINES, a construction, Jan Ritsema and Bojana Cvejić write and perform with Sandy Williams and Mette Ingvartsen a performance that seeks a form of potentializing (and not actualizing) a dance, a radio-show, and a textual theatre at once. In Nitra's theatre festival they will show a preliminary edition of the performance which will haveits premiere in Kaaitheater in Brussels, January 2006.
Vzw AVEC JAN JIB CO, Jan Ritsema
directed by Jan Ritsema, Bojana Cvejié, Sandy Williams, Mette Ingvartsen
cast: Jan Ritsema, Sandy Williams, Mette Ingvartsen
Jan Ritsema (1945)
Director, performer, dancer, teacher. He directed for a wide variety of Dutch and Belgian theatre companies’ performances ranging from the established repertory through staged stories and performances devised in collaboration with actors, to theatre debuts of poets, novelists and essayists. Since 1995 Ritsema dances and has been a teacher at P.A.R.T.S., the contemporary dance school of Anne Teresa De Keersmaeker, at different theatre schools for acting and directing in Holland and Belgium and at Summeracademies throughout Europe.
Bojana Cvejić (1975) She graduated at the department of musicology and ethnomusicology at the Faculty of Music, University of Arts in Belgrade. Since 1995 she directed independent music theatre performances, in collaboration with Jan Ritsema she made and performed Verwantschappen (2000); T0DAYulysses (2001); PIPELINES, a construction (2004). Publishes essays and reviews in performing art magazines/journals and other publications. Participates in colloquia and conferences, she has been lecturing performance theory and analysis in high education and has been also working as a mentor to a number of students and young choreographers in Brussels, Vienna and Amsterdam.
Sandy Williams (1979) He graduated English literature and contemporary dance at University of Calgary and Concordia University in Canada and Performing Arts Research and Training Studios (P.A.R.T.S) in Belgium. Dancer in professional modern/jazz company, in solo and collective dance performances in Canada, the Netherlands and Belgium.
Mette Ingvartsen (1999) is a choreographer and dancer living and working in Brussels since 2000. In summer 2004 she graduated from P.A.R.T.S. Since 2002 she has primarily been working on her own projects among other things Solo Negatives (2002), Manual Focus (2003) 0ut 0f 0rder (2004) 50/50 (2004) and To come (2005).
Script of the production: SK
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