2023
Co-direc­ting (Bosse)
Please (don’t) let me be (mis)understood by Geert Belpaeme
A phy­si­cal per­for­man­ce in which human bodies step out of their banks to play non-human rela­ti­ons­hips as well.

Coaching (Bosse)
OVER//HERE, per­for­man­ce by Runa Robbroeckx, Femke Van der Steen, Tristan Feyten en Stan Martens
OVER//HERE is a fluf­fy maquet­te of the end of the world, a sci­en­ce fic­ti­on come­dy about that which can­not be taken on the roc­ket ship.

Mentoring (Ezra and Bosse)
ME-THINGS (wor­king tit­le), Master pro­ject KASK Drama of Mathilde Cassier, Luca Persan and Celestes De Vlam


February — March 2022
HET PERSONEEL (THE EMPLOYEES)

In spring 2022, Ezra Veldhuis and Bosse Provoost gave a two-week work­shop to the Masters Theater and Film Studies at the University of Antwerp.

They wor­ked with twen­ty-one stu­dents in Stormkop, a kind of freespa­ce in the har­bor of Antwerp. The work­shop con­sisted of a phy­si­cal and spa­ti­al trans­la­ti­on of Olga Ravn’s sci­en­ce fic­ti­on novel­la The Employees (short­li­sted for the International Booker Prize 2021). The book is com­po­sed of tes­ti­mo­nies of employ­ees, human and huma­noid, who give us a frag­men­ta­ry insight on the ins and outs of a spa­ceship that has stum­b­led upon a pla­net of alien objects, evo­king all kinds of fee­lings and sen­sa­ti­ons that tho­rough­ly dis­turb the labor regime on the ship.

Choreographic and com­po­si­ti­o­nal prin­ci­ples were explo­red to depict a rigid work regime that is gra­du­al­ly unra­ve­ling, and per­for­ma­ti­ve stra­te­gies to explo­re the (non-)humanity of androids and cyborgs.

October 2020
SNEEUWPARTIJ

In October 2020, Bosse Provoost wor­ked for a month with five stu­dents of Woordkunst at the Antwerp Conservatory. The goal of the pro­ject was to sta­ge Paul Celan’s col­lec­ti­on of poems Shneepart (Sneeuwpartij / Snowpart).
Celan’s lan­gu­a­ge is so com­plex, den­se and kalei­do­sco­pic that it for­ces a per­for­mer to make strong per­for­ma­ti­ve choi­ces to make poems tan­gi­ble. As a spec­ta­tor, you wit­nes­sed per­for­mers wrest­ling with lan­gu­a­ge, figh­ting to get some­thing sha­red. Very fit­tin­gly, brid­ging an (impas­sa­ble) divi­de bet­ween wri­ter and rea­der as well as bet­ween the living and the dead is also a major the­me in Celan’s poe­try.

Shneepart was publis­hed after Paul Celan’s death in 1970 and it deals pri­ma­ri­ly with the the­me of self-inten­ded death. The ​“insi­de of death” is being ima­gi­ned. Plants and beet­les are descri­bed as bro­thers and sis­ters, death as both an arri­val and a des­cent. In addi­ti­on, the Shoah, the soci­al unrest of the late 1960s and the spa­ce race also recur regu­lar­ly in the collection.