a stageplay by Tibaldus en Andere Hoeren and Theater Stap
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The starting point of our working process was the idea showing a scene full of Gods, because we liked the idea to show the players of Theater Stap as Gods.
Today, God is dead, they say. On the other hand we live more than ever with a multiplicity of Gods in our society. A lot of people are living close to their own Gods, and we’re confronted with them every day, in our daily life, or on television.
But in this production we don’t wanna show the Gods we see nowadays in all the media, and in our streets: Gods of guilt, of angre, and intolerance.
Instead we play the Gods of farts, sputter, hope and orthopedic shoes.
Their stories are inconsequent and eclectic. the way they are, doesn't fit in a strong pattern, they are wild and anarchic. And showing this kind of Gods, played by the players of Stap, is probably the big main theme of the play.
Because we find it a very comforting thought, thinking of these Gods. We show heaven, We show people who need Gods and Devils, people who create gods to comfort themselves, because they are in doubt, scared, and they find support in the melodies, stories and rituals.
In ‘4 : 3’ Gods tell their stories and thruths. They present their rituals and dances. They sing their songs.
When we ask the players of Theater Stap to play gods, they start talking, deadly honest and effective, about Turnhout, their hometown, about the company of their brother, or about the flemish fund. So they become gods with a brother working in a woodcompany, gods who talks at dinner about the Belgian problems, a bilingual country. And we don’t know these Gods yet, don’t know about a God living in Turnhout. Exciting!
These strange and anachronicle spectacles ensure that the Gods suddenly become human beings, become human-gods, who don’t remain suspended in in a classical anecdote, in clichés, because of their astonishing way of expiriencing these clichés, gubbering, in a semiconcentration, laughing because of someone letting a fart.
And maybe that is the reason we want to show ‘4 : 3’ and its players to the world, because of the comforting feeling it creates. The pleasure of them being on that stage is endless, warm, and moving. Their uniqueness is full of promise for theatre and dance, just as their humanity should be for society in general.