De Pauw (Engels) - depot voor het VTi

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josse de pauw in the now blind Pomp, who stays with the Snake people) and a physical, external endurance of the world (such as the Child’s journey across Ireland and the penal camps in Australia). The one goes to look, the other sees; the one experiences everything physically, the other knows. The two worlds come into contact at the end of the narration. The two half-brothers find each other again in two short sentences: Pomp They built a statue of our mother. The Child I know. I’ve seen it. At the heart of the tale lies the impact that social organisation and history have on the individual, his search for an identity and dealing with power. Migration is a key word. Although it is not explicit, the authors do assume a clear position in the multiculturalism debate by arguing for mutual tolerance and the acknowledgement of the great similarities between different peoples instead of the hyperbolic emphasis on differing views. Ward Comblez and Het Kind van de Smid display similarities not only in form but also in content. Just as in other productions by De Pauw, we hear traveller’s tales in which the narrators go in search of their own place in the world. Ward Comblez takes us to Algeria, Curaçao and Crete; with the Smith and the Child we end up in the Australian camps after a while in America and Europe. In both pieces we see a cyclical ending to the journey. The issue of identity, which led to these wanderings, is not only a matter of the individual, but extends to the Other and the power balances so created, leading ultimately to a number of questions about a broader cultural individuality. In this respect, history functions as a grand background against which the story stands out. In Ward Comblez it is still about the condensed, personal history – closely associated with a geographical setting; in Het Kind van de Smid history is completely opened up. The imagination plays a prominent part in each of these facets. In the narration, truth and fantasy join forces to form the speaker’s story. Both productions were received very well in Flanders and the Netherlands. The award of the 1990 Dr Oscar De Gruyter Prize 32 / Kritisch Theater Lexicon - 14 e - August 2001 [1] Echafaudages by Radeis. 1982-1984. Production: Schaamte.h
[2] Ik wist niet dat Engeland zo mooi was by Radeis. 1979-1983. Conceived and performed by: Jan De Bruyne, Josse De Pauw, Dirk Pauwels, Pat Van Hemelrijck. Production: Schaamte. [3] Vogels by Radeis. 1981-1984. L. to r.: Georges Brouckaert, Pat Van Hemelrijck, Dirk Pauwels, Josse De Pauw. Production: Schaamte.l [4] Ward Comblez. He do the life in different voices (Josse De Pauw with Peter van Kraaij). 1988-1989. Josse De Pauw as Ward Comblez. Production: Kaaitheater in association with Lantaren/ Venster, Rotterdam, Beursschouwburg and De Voorziening, Groningen. [5] Weg (Josse De Pauw). 1997-1998. With Josse De Pauw, Peter Vermeersch and Pierre Vervloesem. Music: Peter Vermeersch. Production: Kaaitheater.
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De Pauw (Engels) - depot voor het VTi

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