February 21 / Internationaal Theater Amsterdam

Armed with words

Language plays a leading role in Gevechten en metamorfosen van een vrouw, says ITA actress Marieke Heebink. "In the Houses of Parliament, on The Voice, it matters which words you use. Words can be violence."

By Irene Bloemink

"There is only one punch in the play, but the mother and the son are often violent towards each other: in how they say things." Marieke Heebink, who plays the mother's role: "She is violent with language, also towards herself , for example, if she's reciting some lines about what to do and repeating it all the time. She hides in it. I recognise that in myself: "I always have to do the cooking," I have sometimes said. I have taught myself to stop that: either you should do it differently, or do it and not whine, haha."

Houses of Parliament
"That is why Gevechten en metamorfosen van een vrouw is so topical and urgent: it is the same in the Houses of Parliament. It matters which words you use, in management, when interpreting things. There is a reason why talk shows are so popular: people want to give voice to something. Or when it comes to Corona: people are walking on the streets shouting "freedom, freedom", even going with a torch to Sigrid Kaag's house. What kind of situation are you in then?"

Fantasy world
"I was also shocked by the words of John de Mol. How he remains in his own fantasy world: "I showed him all the corners of the room." As if he had only just avoided beating Jeroen Rietbergen to death. He says this with a kind of hidden pride. Like when he says to the women: "If you don't report it, we can't do anything." This runs across generations, or classes. Words matter."

Chips
"That's what Gevechten en metamorfosen van een vrouw is all about: language and violence. The son breaks the cycle of poverty and violence by leaving for Paris and becoming a writer. He continues to confront the mother with her situation and that of his brothers. With words. He doesn't mince words and shows her in all her rage and violence. That is also a declaration of love. She eventually gets out, partly because she already had that glimmer of hope in her. She pushes her husband away and leaves the prison that her life was until then: the kitchen, the smell of smoke and chips. (I have to scrub that smell off every time after the show...)"

Im Herzen der Gewalt

Heart and soul
"Majd Mardo and I are evenly matched. He gives himself, heart and soul, to his role, prepares very well. Remember, it's not his native language. That is unbelievably clever. He sometimes hits a hurdle, but always recovers. It is wonderful to play with him. I'm really looking forward to doing it again. It was actually just ready, now we can take it a step further. For the first time in the main hall of ITA, that big space, hopefully completely filled with an audience."

BRANDHAARDEN 2022

Language NP Language no problem Im Herzen der Gewalt Schaubühne am Lehniner Platz in Berlin / Thomas Ostermeier Theater Im Herzen der Gewalt
Close Im Herzen der Gewalt Schaubühne am Lehniner Platz in Berlin / Thomas Ostermeier
In his novel History of Violence, Édouard Louis reconstructs the night of the main character’s rape and abuse.
Language NP Language no problem (B)randprogramma: Dialogen over kunst & politiek ITA Academy Perspective programmes (B)randprogramma: Dialogen over kunst & politiek
Close (B)randprogramma: Dialogen over kunst & politiek ITA Academy
We welcome you every day before the performance in our Salon for the programme Dialogue on Art & Politics.
Language NP Language no problem Performative reading The Interrogation + talk + film Édouard Louis & Milo Rau Theater Performative reading The Interrogation + talk + film
Close Performative reading The Interrogation + talk + film Édouard Louis & Milo Rau
With a performative reading, Édouard Louis and Milo Rau (Brandhaarden 2019) present the theatrical text The Interrogation.
Language NP Language no problem ITA on screen: Weg met Eddy Bellegueule Toneelschuur Producties / Eline Arbo Film ITA on screen: Weg met Eddy Bellegueule
Close ITA on screen: Weg met Eddy Bellegueule Toneelschuur Producties / Eline Arbo
Édouard Louis took the world by storm with his successful autobiographical novel The End of Eddy. Without much frills but with ample dry wit, the novel tells the life story of a homosexual boy in an extremely homophobic environment.
Language NP Language no problem Valdens historie Det Norske Teatret / Kjersti Horn Theater Valdens historie
Close Valdens historie Det Norske Teatret / Kjersti Horn
Norwegian version of Histoire de la violence by Édouard Louis
Language NP Language no problem Qui a tué mon père Théâtre de la Ville / Schaubühne am Lehniner Platz in Berlin / Thomas Ostermeier Theater Qui a tué mon père
Close Qui a tué mon père Théâtre de la Ville / Schaubühne am Lehniner Platz in Berlin / Thomas Ostermeier
Édouard Louis, directed by Thomas Ostermeier, is appearing for the first time as a performer in one of his own works.
Language NP Language no problem Sign of the Times: Édouard Louis Internationaal Theater Amsterdam / de Balie Perspective programmes Sign of the Times: Édouard Louis
Close Sign of the Times: Édouard Louis Internationaal Theater Amsterdam / de Balie
We talk to Édouard Louis about the dividing lines between the elite and working class, between the opposition and the establishment. How do you maintain radicality and independence as a writer when the world embraces your work?