๐ฃ๐น๐ฎ๐๐ฏ๐ถ๐น๐น: ๐๐ฐ๐ ๐ฉ๐๐: ๐ข๐ฝ๐ฒ๐ป ๐ฆ๐๐ฎ๐ด๐ฒ
๐๐ฒ๐ฐ๐ฒ๐บ๐ฏ๐ฒ๐ฟ ๐ญ๐ฒ, ๐ฎ๐ฌ๐ฎ๐ฎ, ๐ฑ๐ผ๐ผ๐ฟ๐ ๐ฎ๐ ๐ด๐ฝ๐บ
๐ง๐ผ๐ฟ๐ฝ๐ฒ๐ฑ๐ผ ๐ง๐ต๐ฒ๐ฎ๐๐ฒ๐ฟ, ๐๐บ๐๐๐ฒ๐ฟ๐ฑ๐ฎ๐บ
Featuring performances by Sam Cottington, Toon Fibbe and Bryony Gillard, plus the launch of Playbillโs first Annual Report publication
ACT VII marks our first open call as a platform. Given that Playbill originally began from a perceived lack of presentation spaces focused exclusively on language- and text-based artistic works in the Netherlands, we devised Open Stage as we wanted to hand the platform over to artists working with similar concerns, assuming they were also desiring more opportunities to present their work.
In the process of reading the many varied responses to the call, it became clear that the definition of โlanguage-basedโ is one that is continually expanded. Not only was this exciting to read and imagine, but it also propelled forth a group of artists that despite being interested in language, through the sheer array of their proposals, collectively undo the rigidity of language and its structures in the first place.
The selected artistsโSam Cottington, Bryony Gillard and Toon Fibbeโcome at text and its performativity from different angles, but together present a cross section of artists busy with it as material within their work, beyond it just being a tool for the dissemination of an idea. From appropriating the formal structure of a 90s romantic comedy, to a lipsyncing incarnation of a figure of finance, to a phone with a live actor suspended somewhere between art and theatre awaiting you on the end of the line, the works that will be presented for Open Stage are both wildly different and similarly contemporaneous, fully aware of the technologies through which language is shared, sub-culturally built and, inevitably and alternatively, co-opted.
Additionally, the end of this calendar year brings with it the launch of our first annual report, chronicling the cycle of acts that began Playbill. Spanning our activities from 2022 and the first quarter of 2023, Annual Report 2022โ2023 includes a newly commissioned text by Mayra A. Rodrรญguez Castro, an artistic commission by Allison Parrish and audience reports by Jacquine van Elsberg, Samantha McCulloch, Sands Murray-Wassink and Zazie Stevens.
To celebrate the launch of this publicationโwhich sits somewhere between administrative accounting and creative reinterpretations of that very thingโwe will end the evening with a toast, during which the publication will be available for the taking.
Please note that Torpedo Theater has a capacity of thirty seats and we unfortunately won't be able to welcome people without tickets and/or sell tickets at the door. The intimacy of the small audience is an inherent part of the setting.
๐๐ญ๐ข๐บ๐ฃ๐ช๐ญ๐ญ ๐ช๐ด ๐ข๐ฏ ๐ฆ๐ท๐ฆ๐ฏ๐ต-๐ฃ๐ข๐ด๐ฆ๐ฅ ๐ฑ๐ณ๐ฐ๐ซ๐ฆ๐ค๐ต ๐ช๐ฏ๐ท๐ฆ๐ด๐ต๐ฆ๐ฅ ๐ช๐ฏ ๐ต๐ฉ๐ฆ ๐ฑ๐ณ๐ฆ๐ด๐ฆ๐ฏ๐ต๐ข๐ต๐ช๐ฐ๐ฏ ๐ฐ๐ง ๐ฆ๐น๐ฑ๐ฆ๐ณ๐ช๐ฎ๐ฆ๐ฏ๐ต๐ข๐ญ ๐ญ๐ข๐ฏ๐จ๐ถ๐ข๐จ๐ฆ- ๐ข๐ฏ๐ฅ ๐ต๐ฆ๐น๐ต-๐ฃ๐ข๐ด๐ฆ๐ฅ ๐ข๐ณ๐ต๐ช๐ด๐ต๐ช๐ค ๐ธ๐ฐ๐ณ๐ฌ๐ด ๐ฐ๐ฏ ๐ต๐ฉ๐ฆ (๐ด๐ฎ๐ข๐ญ๐ญ) ๐ด๐ต๐ข๐จ๐ฆ. ๐๐ต ๐ช๐ด ๐ค๐ถ๐ณ๐ข๐ต๐ฆ๐ฅ ๐ฃ๐บ ๐๐ข๐ณ๐ต๐ฉ๐ข ๐๐ข๐จ๐ฆ๐ณ ๐ข๐ฏ๐ฅ ๐๐ด๐ข๐ฃ๐ฆ๐ญ๐ญ๐ฆ ๐๐ถ๐ญ๐ญ๐บ, ๐ข๐ฏ๐ฅ ๐ฅ๐ฆ๐ด๐ช๐จ๐ฏ๐ฆ๐ฅ ๐ฃ๐บ ๐๐ข๐ถ๐ฅ ๐๐ฆ๐ณ๐ท๐ฆ๐ฏ๐ฏ๐ฆ. ๐๐ญ๐ข๐บ๐ฃ๐ช๐ญ๐ญ: ๐๐ค๐ต ๐๐๐ ๐ฉ๐ข๐ด ๐ฃ๐ฆ๐ฆ๐ฏ ๐ฎ๐ข๐ฅ๐ฆ ๐ฑ๐ฐ๐ด๐ด๐ช๐ฃ๐ญ๐ฆ ๐ต๐ฉ๐ข๐ฏ๐ฌ๐ด ๐ต๐ฐ ๐๐ฎ๐ด๐ต๐ฆ๐ณ๐ฅ๐ข๐ฎ๐ด ๐๐ฐ๐ฏ๐ฅ๐ด ๐ท๐ฐ๐ฐ๐ณ ๐ฅ๐ฆ ๐๐ถ๐ฏ๐ด๐ต ๐ข๐ฏ๐ฅ ๐๐ฆ๐ฎ๐ฆ๐ฆ๐ฏ๐ต๐ฆ ๐๐ฎ๐ด๐ต๐ฆ๐ณ๐ฅ๐ข๐ฎ ๐๐ต๐ข๐ฅ๐ด๐ฅ๐ฆ๐ฆ๐ญ ๐๐ฆ๐ฏ๐ต๐ณ๐ถ๐ฎ .