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4:3

tibaldus in collaboration with Theater Stap



Doubt is already a little piece of faith.
— Daniil Charms

We’ve made this play for Theater Stap, an organisation who lets people with a mental disorder and a lot of acting talent be part of the professional theatre world.

4:3 is a play about the Gods in heaven, the devil and the humans on earth. Because the Gods are important. And because it’s special to see the players of STAP play these gods.

Not the Gods of guilt, anger, and intolerance. We play the Gods of farts, sputter, hope and orthopedic shoes. Wild, eclectic and inconsequent.

In 4 : 3 the Gods tell their stories and truths. They present their rituals and dances. They sing their songs.


Letter to our audience

Dear audience,

For those who want it, before the play or after, pieces of our thinking on 4:3.
Because the Gods are important.
Today they say that God is dead. Nevertheless, in our society, it seems we live together with a multitude of gods.

We don’t want Gods of guilt, anger and intolerance. We play the Gods of gibberish, comfort, farts, dialect and orthopaedic shoes. Their stories are eclectic and inconsequent. Any consistency is only vaguely discernable. Their image of the world doesn’t fit any pattern. It is wild and anarchic. Claims of truth are absent, or in any case very transparent.

Showing these gods, played by the players of Stap, is probably the main theme of 4 : 3. The players of Stap who, in improvisations, associate sacred themes or commonplaces with meatballs, their favourite football team and the company of their brother.

These strange and anachronistic spectacles enable the Gods to suddenly become human beings. Human-gods, breaking loose from being suspended in classical anecdotes and clichés, with their astonishing way of experiencing these clichés, gibberingly, semi-concentrated, laughing at someone’s fart.

Our play is about the Gods, but also about the people giving them shape with their fantasy. We don’t want to hide these people under any costume or make-up, rigorous lighting or excessive decors. No spectacular or manipulative Gods who try to convince with splendour.

Because the play’s about players who play Gods and because our Gods conduct discourses without clear truth, it seemed good to keep certain elements and scenes brute and improvisational. Apart from some of the scenes, music, the costumes (the clothes they happened to wear that day) we also improvised with the lighting. The players light themselves and each other. They determine what we can see and what we can’t. They have the power and freedom to construct their own scenes. In the end they are Gods (often with chaos as a result). Also, a theatre spotlight is something very beautiful and it would be a shame to hide it. It shows also what theatre is in essence: In darkness, without any superfluous impressions, we shine our light on a specific part of reality.

In 4 : 3 the Gods tell their stories and truths.
They present their rituals and dances.
They sing their songs.

Hans, Timeau en Simon

P.s.

Someone asked if it wasn’t difficult for a spectator to understand why a character walks from point A to point B? What goes on in your mind when you walk from point A to point B? Well, I, as a player without mental disorders that I know of, don’t know either. If you go from point A to point B and it looks good, it’s fine. It is the aesthetic of someone fidgeting his hands, or how someone often says nothing and is just looking around, which gives the audience the space to look back, which often makes it special.

And:

The only thing I find interesting is ‘nonsense’, only the things that don’t have any practical sense. Life is only interesting in its incongruous appearance.
— Daniil Charms

credits

by Timeau De Keyser, Simon De Winne, Hans Mortelmans

by and with Jason Van Laere, Seppe Fourneau, Guy Dirken, Timeau De Keyser, Ann Dockx, Marc Wagemans, Hans Mortelmans, Rik Van Raak, Luc Loots, Jan Goris, Simon De Winne en Nancy Schellekens

sound advice Seppe Gebruers, Niels van Heertum and Ruben Desiere

music Ifa y Xango conducted by Seppe Gebruers

technician Erick Clauwens

decor Tibaldus, Simon Van den Abeele and Johan Dhaenen

photography, film and design Pieter Dumoulin

production Theater Stap

With the support of de Vlaamse Overheid, Stad Turnhout, de provincie Antwerpen