A trip to Venice Beach, California 1942. With rolled up trousers, in stiff, well tailored three-piece suits, they are sitting on the beach. A little uncomfortable, a little too hot, a little too European, sitting slightly askew in their American beach-chairs. Four great European beacons of culture, flying Germany’s nazism. Among them Arnold Schönberg, Thomas Mann, Berthold Brecht and Alma Mahler-Werfel. Their conversation on the influence of Goethe on Wagner halts, while they silently watch a Mickey Mouse-balloon floating by over the beach. →
How many ways are there for a human being to fall: falling from grace, falling out of paradise, out of your youth, your memories, language?
How can you practise yourself in mourning that has yet to come? How much sentimentality do you need to truly feel the pain of others? Hof van Eede takes not literature as its point of departure, but documentary material.
Composer Thomas Smetryns bought one picture of a ballet-dancer in the 1920s, and receives an entire album: a puzzle. It appears to contain a family tragedy ‘told’ in pictures. →
The Weiss-effect attempts to show what can happen when you prefer the beauty of a fiction over raw reality. After having written a dialogue, a quartet Hof van Eede now presents a trio of literary super-fans, whose lives circle around the work of the artist Edgard Weiss (1873–1924). →
Thirsty, Hof van Eede’s second show, tackles the basic question of youth and friendship: Do we want true friendship, or is it enough when we share a story that is not necessarily true, but binds us together and seals our friendship? More specifically: are you still young when you realize that being young implies a longing without knowing what you’re longing for, and that this is exactly what you’re longing for (that is: longing for something you don’t know you’re longing for)? →
Where the world is going, that’s where we are going is Hof van Eede’s first show, written and staged in 2012, and winning the ‘TAZ-KBC Jongtheaterwerkprijs’ (TAZ-KBC Young Theatre Award) 2012. Louise and Ans Van den Eede have written a text that scrutinizes and charts the vulnerability of language, the whimsicality of a conversation, and the tensions between structure and chaos. →