The Money is a cross between a game and a play.
You can choose to be a Silent Witness and watch or a Player and take part in deciding how to spend a real amount of money.
As a Player you can express yourself as you wish. But you must reach an agreement with your teammates before time runs out and by following the rules you will be given. If these conditions are not met, the money goes to the next group of players.
Silent Witnesses can join the Player group at any time and this can change everything.
The playful premise of this celebrated work sets the stage for one of the most memorable conversations you’ll ever witness, as altruism actually soon turns to self-interest, everyone’s personalities clash, and hierarchies are turned upside down.
The results can lead to tensions as in a thriller, or they can be ridiculed as in a farce, but in the end what is asked is: are there really any values we can agree on? Is the most valuable thing of all the common understanding? Finally, what is the most interesting thing we can do together that we can’t escape?
Game|Show – duration 100 min. – in italian
c/o ZONA K
Production: Kaleider Concept and Direction: Seth Honnor Artistic Collaboration: Alice Tatton-Brown Production Manager: Jay Kerry Performers: Gemma Paintin, Hanora Kamen, Gilda Deianira Ciao Photos: Prudence Upton
Ontroerend Goed (BE)
“The best way to rob a bank is to own one.” (William K. Black, American lawyer and lecturer specializing in financial crimes)
A casino, an illegal poker backroom to experience the thrill of being part of the elite 1% of the population that makes the world economy go round. There is no more time for ethics, you are in it to win it. In this den of intrigue and trading, it’s the adrenaline and investment decisions – not the roll of the dice – that count. What does your credit rating look like?
Who gets bailed out, who gets junk status, who implodes? Are you really in control or are you taking a gamble? Award-winning Belgian collective Ontroerend Goed provides insight into the complexities of the monetary system and its impact on our lives, immersing audiences in the financial world and allowing them to become players in the “game” of high-absorption capitalism.
Play|Show for 42 viewers per replay – duration 110 min. – in English
c/o ZONA K
“Play produced as part of the Teen Time project.”
Direction: Alexander Devriendt Script: Joeri Smet, Angelo Tijssens, Karolien De Bleser, Alexander Devriendt & cast Lyrics: Joeri Smet Cast: Max Wind, Britt Bakker Costumes: Astrid Peeters Music: Johannes Genard Set design: vormen & Nick Mattan Dramaturgy: Koba Ryckewaert, Julie Behaegel (intern/stagiaire) Production: David Bauwens Production assistant: Charlotte Nyota Bischop Co-production: Vooruit Kunstencentrum, Ghent (BE), Theatre Royal, Plymouth (UK), Richard Jordan Productions (UK) Thanks to: Toneelacademie Maastricht (NL), Khalid Koujili, Maria Dafneros, Miriam Matthys, Tamara Searle, Jeffrey Caen, Ruud Vanderheyden, Bram Billiet, Thomas Dhanens, Bo Marlijnen, Louiza Vande Woestyne With the support of the Flemish Community, the Province of East-Flanders and the City of Ghent
The Belgian collective Ontroerend Goed, under the artistic direction of Alexander Devriendt, creates projects and scenic devices based on the here and now, inviting the audience to participate and have an intense experience. The group has won numerous awards in Europe and their works are represented in major festivals around the world. Ontroerend Goed creates and realizes scenic devices that lead the viewer to question how we, as individuals, position ourselves in today’s world. Either way, whether it’s tracing the history of the universe in one evening, turning viewers into voters, guiding strangers through a labyrinth of mirrors and avatars to meet each other, the collective has made it their trademark to be unpredictable in content and form every time. Ontroerend Goed are: Alexander Devriendt, Joeri Smet, Charlotte De Bruyne, Karolien De Bleser, Angelo Tijssens, David Bauwens, Wim Smet, Babette Poncelet and Karen Van Ginderachter.
Christophe Meierhans (CH/BE)
Can the money we use on a daily basis be held responsible for the bleak state of the world today? What would it mean to hold it accountable for its actions? Trials of Money challenges the idea that money is just a tool or a means, and treats it as a complex being, a “semi-human” entity that has acquired an autonomous operation and escapes the control of the men who use it.
This new version of the performance is based on the collected testimonies of nine witnesses: an ex-banker, a Suisse National Bank employee, a homeless man, a wealthy philanthropist, a Native American, an economics professor, a kibbutz resident, and a criminologist. It invites the public to take part in the actions of a fictitious court, conducted as a collective exercise where all present freely assume the position of prosecution or defense, based on their beliefs and influenced by the proceedings.
Can money actually be tried before a human tribunal? And if the defendant is ultimately found guilty, what should be the appropriate sentence?
Conference Show – duration 120 min. ca – in Italian
c/o ZONA K
A project ZONA K and Stanze
“Show realized within the project Teen Time.”
Concept and direction: Christophe Meierhans Performer: Christophe Meierhans, Luca Mattei Dramaturgy: Bart Capelle With the participation of: Shila Anaraki, Jochen Dehn, Adva Zakai Set design: Decoratelier Jozef Wouters Decor: Giammarco Falcone Light saber microphones: Alexis Pawlak, Gaia Carabillo Costumes: Sofie Durnez, Valerie Le Roy Lighting design: Luc Schaltin Monetary consultant: Olivier Auber Production: HIROS, Elisa Demarré Co-production: AUAwirleben (Bern), BIT Teatergarasjen (Bergen), BUDA (Kortrijk), FAR° (Nyon), Kaaitheater (Brussels), Nouveau Théâtre de Montreuil (Paris), Teatro Maria Matos (Lisbon), Vooruit (Gent), ZONA K (Milan) With the support of: Vlaamse Gemeenschap, ProHelvetia
Christophe Meierhans (Geneva; Brussels) works with and through performance, public space, installation, sound, music and video. His work consists mainly in developing strategies of intervention in everyday life, through the manipulation of accepted conventions, social habits or simple customs. Fragments of reality become the frame for artistic operations that can redirect banality in order to make it reappear under unexpected angles. His work raises questions about norms and conventions, confusing a random context with different ones, and confronting the viewer with something else, with the strangeness of being in the “wrong” place, or the possibility that the place may become something else.