#Hans Kesting

[dutchjan]

December 03, 2023

[ramascreen]

Official Poster And Trailer For NR. 10

Official Poster And Trailer For NR. 10

Check out these official poster and trailer for NR. 10 A Film By Alex van Warmerdam (BORGMAN) DRAFTHOUSE FILMS WILL RELEASE “NR. 10” IN THEATERS DECEMBER 2 (in New York City, Los Angeles, Austin, San Francisco, Denver, and Raleigh). FOLLOWED BY DIGITAL RELEASE ON DECEMBER 9 With sneak preview screenings in select Alamo Drafthouse locations nationwide on November 28 Tickets will go on…

[oughttobeclowns]

News: Director Eline Arbo and five new actors joining Internationaal Theater Amsterdam

News: Director Eline Arbo and five new actors joining @ITAamsterdam @ITAensemble

Internationaal Theater Amsterdam (ITA) has announce that director Eline Arbo has committed herself to the theatre as Associate Artistic Director. Alongside director Ivo van Hove, she will be part of the artistic core of ITA. From January ‘23, Arbo will be appointed Ibsen Artist in Residence, an initiative of the Philip Loubser Foundation, which gives directors with an international ambition the…

[toneelspeelster]

re a little life - is this the one with james norton as jude? i'd love to hear more of your thoughts about how you found it. was hanya similarly involved in this one as in the dutch version?

oh. get ready, i got thoughts. read more for spoilers i guess. mind you i'm very biased as a dutch person. i don't know if hanya was more involved.

the show's almost exactly the dutch one and it's kinda to its detriment a little when you know of the dutch one (which i still prefer). like the stage's the same (but way smaller as a consequence of dutch theatres just being way bigger than london ones). clothing wise it's even very similar. but this made it extremely difficult for me not to just focus on the differences in acting bc it's the same play functionally.

the show is shorter by 20 min and as a consequence there's not a lot of breathing room for the characters or audience. one specific part i noticed is that the happy years were cut down. that choice is an interesting one bc it does all around make it feel like this version is a bit more of a trauma conga line than the dutch version feels like. this combined with the fact that the rape scenes were simulated way more extensively than it was in the dutch one and you got to wonder: why is this needed for the english version? it's not like we shy away from explicitness in the netherlands.

acting wise it was all very similar direction to the original. james was fine i guess, he wasn't really directed differently from the dutch one but i did sense a different feeling in that i feel that james felt more emotionally open throughout whilst i feel that ramsey really got that internal strife and guardedness that jude had way more. his portrayal is so fucking layered and his screams are guttural. then again ramsey is like. one of The Dutch Theatre Actors. it's no wonder he got the dutch equivalent of tony awards/laurence olivier awards for this role. and was one of ivo van hove's main cast of actors but more on that later. so james was fine. he did have a good challenge in the role i think, which he took to what his heights are.

willem's interpretation here was frankly terrible. my friends and i fully agreed on this; he just didn't feel like willem from the book at all. he's way more of a weird teenager dude bro and there were less moments in the first half that fully indicated that there always was a bit more between willem and jude so in the second half i didn't completely buy that this version would be in love and say it to jude like that. it just didn't feel organic. and in the final death scene - when throughout the second half he felt a bit marginally better - he fully reverted back to this comic relief status like. i just snickered. i'm sure the actor is fine in other work. i just think the interpretation missed its mark here. maybe as adelstitel mentioned in one of our comments they felt he needed to be a comic relief character bc the play is full of trauma and in those tragic stories the audience does need to have release of tension sometimes. but it was way too much.

support cast was good, especially jb was terrific, and i liked andy. have no real feelings about caleb/luke/taylor but i do think hans kesting is way more terrifying in the role, maybe also because of the room he has in the dutch one. like he's got space he can use menacingly that the english actor can't bc of room limitations.

everything was in an american accent. sometimes the accent was quite strong, like with harold. that was kind of.. very distinct. and different from the dutch actor who is flemish and has one of the softest accents and voices. harold also stayed closer to jude at the end. one of the changes i did like is that both harold and jude sang a bit more at each other as a reference to the mahler song.

i think the dutch actors have the advantage of being a set cast of actors who work with each other through multiple different theater plays. there's just something magic there in their chemistry. and i thnk ivo very much knows what he can extract from them and that would be more difficult from a different cast.

so in short; basically the same show so it was good, but different interpretations and comparing them are difficult to avoid when seeing this in multiple languages. i appreciate the booklet giving a bit more background on ITA's existence bc how many times would an international show not in english be able to successfully make the move to english. nevertheless.. it's just subtitles to overcome!

[moonlattae]

yes a little life in cinemas now BUT WHO WAS THERE when ramsey nasr gave us the performance of a lifetime interpreting jude st. francis? when hans kesting was brother luke AND caleb AND dr. traylor? at the ivo van hove's stage adaptation at the international theater amsterdam on september 30th? the streaming walked on thin ice the whole time, the english subtitles were ON but there was no need to read them because the acting was so good it exceeded the need of words. we were all understanding dutch that night.

[eenkleinleven]

cant wait to hear your thoughts about the play!! know i am living vicariously through you and i hope your emotional recovery is going well!

Oh, I won't ever be okay again. It was great. A woman in the audience had an episode of vasovagal syncope in the first hour of the play because of the blood. She almost staggered onto the stage and they had to pause to get her medical attention. Majd got to ask "is there a doctor in the audience?" And the luckiest man alive got to get up, and say "I am". I was so tickled by that. Is this not the sort of thing doctors aspire to do?

Because my brain is rotted like wooden support beams after a decade of flooding, I thought "he's certainly going to be comfortably situated in his Andy oats for the rest of the night".

Here's some other things that struck me, though.

In no particular order:

Ramsey Nasr does a great job of capturing the fact that Jude is sort of adorable. There were moments where I was caught off guard by it and thought to myself: "ah, that's cute." In the adoption scene, when he hugs Willem, he actually like... really wrapped himself around him. Like, a real leap of a hug.

The little kisses everyone gives Jude on his head! Oh, my heart!

Hans Kesting is so good at what he does. A terrifying presence on stage. Particularly as Dr. Traylor, but there is a palpable cruelty to the way he plays Caleb. Like a housecat batting around a baby bird.

Another thing: during the car scene, he tilted the light at each rotation to make sure everyone in the audience was momentarily blinded.

Oh, god! The Greene St scene with Caleb was a real shock! The whole room was bathed in this horrible (good horrible) white light. Even I felt a little exposed.

Another "oh, god" moment was during the moment with Caleb showing up at Greene St and forcing Jude to undress and Jude calls out to Ana and asks her to take his watch. Something about that made me sob.

There was a moment where Ana was watching--I believe--Willem and Jude having sex, if memory serves. And while, you know, I could say more important things about that, the only thing that came to mind was this:

JB was so... Flamboyant. Sort of this:

I noted that they changed his dialogue to deprive me of something I thought was funny which is that they made him Syrian, which makes sense! But White JB is funnier.

They had someone other than Steven van Watermeulen playing Harold. I'll say this: highly effective. Absolute law professor energy. The long strides, pacing around the stage, the tone of voice, the expressions! All perfect. I felt the urge to prepare myself to think about the commerce clause and standing, and if that doesn't speak to his performance, then what does?

The ending of the play really got to me, because Harold walks out into the audience and looks at the stage with us before it goes dark. I wept!

I may just be a sucker for string accompaniments, but they managed to make the air thick with tension at times.

When Jude cut himself and the screens would dissolve into a bright, hazy static, I found that really immersive.

The burning scene was an interesting one for the audience. When he lit the match, people *gasped*. To see that bright light flickering, almost imperceptible, from inside of the sink as Jude recites these rapid-fire free association memories, it is just *devastating*.

I might be a softie, but it really tugged at my heartstrings to see Jude crying. I really felt for him. All throughout, really, I often found that I could only think: it's difficult, isn't it? It's difficult to know what to do, and even harder to do it.

Certain instances of the blocking (i.e. where everyone is standing on a stage) were downright electric. Moments where, say, Jude, Harold, and Brother Luke would be standing like points on a diagonal line struck me as genius. The staging of past-present was just so neat. Lots of spatial triangulation.

I forgot that Ramsey Nasr was in the opera adaptation of Death in Venice (also ITA), so the clarity of tone in his singing was unexpected, and thus, all the more beautiful.

Oh, and one last thing: in the scene where Willem dies, there's this instant where Jude is hugging him, and as he pulls away, Jude held onto his cardigan for just long enough before letting go.

[fearsmagazine]

NR. 10 - Review

DISTRIBUTOR: Drafthouse Films

SYNOPSIS:  When we encounter Günter he is an actor in a new play that is in rehearsals, and he clearly has a variety of issues with his fellow thespians. As the tale evolves we learn that  Günter was raised by foster parents after being found abandoned in the woods with no memory as a child. As Günter ventures out for breakfast groceries a man approaches him on the street and whispers a strange word in his ear. He soon begins to experience visions from his fractured past that reveal a dark secret, threatening what he thinks he knows about his life and the very nature of his existence.

REVIEW: Filmmaker Alex van Warmerdam’s NR. 10 is a twisted tale with hints of a Terry Gilliam film, with less art direction and satire. It’s a captivating film that has the viewer wondering where exactly it is going and ends in a jaw dropping climax.

I relish the way the narrative is a layered presentation of elements. Some of them are trivial in the grand scheme of the tale, but along the way offer crumbs as to the central theme of the film. There are times when it offers social commentary on daily life, and it feels like there is a strange connection between Günter and the play he is rehearsing. Just when the viewer feels they are getting a handle on the story it adds another element that leaves one dazed and confused. Günter is an engaging character that supports the viewer’s investment in the film. The other characters have their moments, some drop away, and others take on more significant roles. When all is said and done, the film’s shocking climax left this viewer pondering the larger implications. It’s truly a thought provoking tale on several levels.

Actor Tom Dewispelaere plays Günter. His performance takes the viewer on a compelling journey as he moves through mystery to enlightenment. He presents a likable character, oppressed by daily life until the question of his past arises. His emotions begin to emerge and he transforms. The character and performance engage the viewer to take them for the ride. There are several other alluring performances, actress Frieda Barnhard as Lizzy, actor Gene Bervoets, and the rest of the cast deliver a memorable ensemble performance.

The film demonstrates solid production values. The majority of the film appears to be a regular drama, all the visual effects left for the last act. The cinematography is a realistic blend of wintery tones and a waking dream. The framing and editing provides this slight “who done it” feel. Warmerdam’ score is used sparingly as accentuates transition between scenes and adds depth as the film shifts into its final moments.

There is a moment in Alex van Warmerdam’s NR. 10 where characters have a logical conversation about religion. It is an argument that I can’t recall having been framed that way and my reaction was similar to the character in the scene. In the larger scheme of things the film seems to embrace Dadaism as it challenges accepted norms. It is one of those rare films that requires you to mull it over after viewing and possibly alter one's perception of things. NR. 10 a contemporary mind trip.

CAST: Tom Dewispelaere, Frieda Barnhard, Pierre Bokma, Hans Kesting, Anniek Pheifer, Jan Bijvoet, Dirk Böhling, Mandela Wee Wee, Richard Gonlag and Gene Bervoets. CREW: Director/Screenplay/Score - Alex van Warmerdam; Producer - Marc van Warmerdam; Cinematographer - Tom Erisman; Editor - Job ter Burg; Production Designer - Geert Paredis; Costume Designer - Catherine van Bree; Visual Effects - Planet X; OFFICIAL: drafthousefilms.com FACEBOOK: n.a. TWITTER: n.a. TRAILER: https://youtu.be/TkG61RfBGjg RELEASE DATE: In Theaters December 2nd, Digital Release On December 9th, 2022.

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[picaru]

【公演情報】

7 Oct & 9 Oct 2022 @ 東京芸術劇場　シアターイースト

東京芸術祭2022　芸劇オータムコレクション：WORLD BEST PLAY VIEWING

CASTS（20/21 season)：Achraf Koutet/Alwin Pulinckx/Bart Slegers/Chris Nietvelt/Frieda Pittoors/Gijs Scholten van Aschat/Hans Kesting/Hugo Koolschijn/Ilke Paddenburg/Janni Goslinga/Majd Mardo/Maria Kraakman/Marieke Heebink/Roeland Fernhout/Steven van Watermeulen

【作品情報】

Director: Ivo van Hove

Text: William Shakespeare "Coriolanus""Julius Caesar""Antony and Cleopatra"

world premier: 17 Jun 2007

【あらすじ】

日本語版あるから省略

【感想】

2022年10月7日/10月9日

2回観ても5時間30分全然飽きなかったからそれだけでスゴイ。実際の公演では観客は舞台上のセットに勝手に座ったりスマホで撮影することが許されていたらしい…なんだそれ…多分イヴォさんがそのコンセプトを発表した時ひとりやふたりは「こいつ何言ってんだ…？」って思ったはず。2分25秒あたりから見るとどんな感じだったか少し想像できた動画貼る。上映版は無観客なので、もはや違う作品だと思った方が良さそう。

エノバーバスもちゃんとブルックリンの街中に駆けだしてるよ…！

3作品はちゃんと予習した方が良い。あそこの場面をそうやって演出するんだー！すげえな！天才かな！ってなれる。

コリオレイナスの煽り耐性のなさが噂通りだった。

会議（？）でコリオレイナスと護民官が殴り合いのけんかになるところ好き。世界びっくりニュース動画見てるみたい。

ブルータスがだいぶ狡猾な政治家で、私の持っていたブルータスのイメージとだいぶ違ってて面白かった。高潔さを表すようなセリフも全部（自分に対する）言い訳みたいに聞こえたし、演説も胡散臭いし、周りからの評価をうまく利用している感じ。

最初、ルーシアスはアレクサみたいな設定なのかと思った。

Ook jij, Brutusが聞き取れたので感動した。日本語を知ってるから聞き取れただけだけど。

エノバーバスに乳首を摘ままれるアントニウスなど。

ガムを噛んでいるオクタヴィアの”あの感じ”がうまく説明できなくて悔しいんだけど”あの感じ”にしようという境地にはちょっとなかなかいきつけないと思うので感嘆した。

クレオパトラの気分屋でヒステリックな設定は、こういうのがたまに指摘されるらしいイヴォさんのミソジニー的な部分なのかな…？と思ったけどアントニウスもだいぶアレだったので、単純に恋愛というものを極端に描写したのかな。クレオパトラはオリジナルもあんな感じだった気がするし。

”海上で”コントが鉄板すぎた。

アントニウスに殺して欲しいと言われる場面で���アントニウスの肩越しに映されるヴェンティディウスの表情がとても良いので何回でも見たい。

アントニウス死後のクレオパトラに対するドラベラの蛮行の意味がわからなかったんだけど、シンプルにクレオパトラの性的な魅力の再提示とかなの？弱ってるところにああいうことするヤツほんとむかつくよね。

ベタな展開が好きなので、アントニウスの死を嘆くクレオパトラにボロ泣きした。あんなにキィキィとヒステリックに騒ぎ立ててたクレオパトラが、彼の死に際しては腹の底から嘆くのでその演技にすっかり魅了されてしまった。あとクレオパトラが「もう食べないしもう飲まない」って言った直後にシャーミアンがシャンパン注いでふたりで笑いあうとこが好き。

とても楽しめたけど、欲張りだからやっぱり生公演も観たいな…。ストーリーに集中できるという意味では上映版の方が良い面もあると思うので、両方観たい。機会があると良い。

作品のテーマは「政治家と民衆」なんだと思うけど、問題提起に終始するのであまり突きつけられた感がなく、メッセージの強さという意味では物足りない気がしないでもない。最後に流れる政治学ゼミの期末エッセイ用テーマリストなテロップ群をみても「これ授業でやったっけ？」みたいな。「コリオレイナス」と「ジュリアス・シーザー」はまだ民衆の一人としての自分を振り返ることのできるテーマなんだけど、一番長くてインパクトのある「アントニーとクレオパトラ」ではそういう視点を持ちにくく、それが最後なので視聴後の突きつけられた感が薄くなってしまうのかもしれない。

とか言ってるけどめちゃくちゃ面白かった。いやだって単純に5時間30分飽きさせないってすごくない？（2回目）

ちなみに休���は15分が1回で劇場内もロビーも飲食原則禁止。多分そもそもの劇場レギュレーションがあるんだろうけどせめてロビーではOKとか、どうにかならなかったのかな…。

[watchingalotofmovies]

Nr. 10

Nr. 10    [trailer]

Günter, found in a German forest as a four-year old, grows up in a foster family. Four decades later, he leads a normal life: he earns a living as a stage actor, spends time with his daughter, and has an affair with a married woman. He doesn't start wondering about his origins until a stranger on a bridge whispers a single word in his ear.

Van Warmerdam continues to make the weirdest little movies. World building with simple measures. Darkly funny, absurd, but still kind of believable.

The less you know about the movie, the better.

[yourdailyqueer]

Hans Kesting

Gender: Male

Sexuality: Gay

DOB: 6 October 1960

Ethnicity: White - Dutch

Occupation: Actor

Note: Has HIV

[pepper-blood]

Age of Rage, ITA

after Euripides and Aischylos

direction Ivo van Hove

translation Gerard Koolschijn

adaptation Koen Tachelet, Ivo van Hove

dramaturgy Koen Tachelet

choreography Wim Vandekeybus

scenography and light Jan Versweyveld

kostuums An D’Huys

compositie Eric Sleichim

[dutchjan]

April 09, 2022

[kunstwankeltmee]

Natuurlijk heeft Ivo van Hove nu een toneelbewerking van Mijn lieve gunsteling geschreven

[oughttobeclowns]

Review: Age of Rage, Internationaal Theater Amsterdam

Review: Age of Rage @ITAamsterdam @ITAensemble @BarbicanCentre #ageofrage

7 Greek tragedies in nearly 4 hours…Age of Rage is a hugely exhilarating and insightful piece of epic storytelling from Internationaal Theater Amsterdam at the Barbican Centre “Brother is afraid of brother father of son son of father” It is probably a sign of how in thrall I am to Ivo van Hove’s directiorial innovation that when the god Apollo took a tumble off the stage towards the end of Age of…

[kestrelvylbrand]

FFXIV Write 2: Bolt

Master List (Coming Soon)

“You’re killing me with these prices!” Kestrel sighed dramatically. The store owner did not look impressed. She was a middle-aged elezen woman, her iron-grey hair tied up into a neat bun. A pair of half-moon spectacles perched halfway down on her narrow nose. Her clothes were immaculate, as one might expect from an upscale store in Ishgard.

“These are newly imported from Radz-at-han,” she said with a sniff, pushing the glasses further up her nose so she could look Kestrel up and down. Kestrel struck a pose, then leaned sideways against the table with the fabrics rolled out. The conclusion of the woman’s examination clearly didn’t come out in Kestrel’s favor.

“They are handmade, very exquisite. I try not to judge a book by its cover…” She tilted her head, giving Kestrel another look. “... But if the price is too high for you, I am sure we can find something more in your range.”

The woman’s tone had softened slightly, perhaps at Kestrel’s expression. “I have some rather lovely organza, how does mauve sound?” She left the bolt of clothes on the table as she turned to find the mauve organza. Kestrel played idly with one of the pearls of the delicate fabric that had caught her eye from outside the store. It was a delicate, translucent fabric, fading from soft blue into a deep purple, like the sky right after the sun has set, before it truly gets dark. Pearls of various sizes dotted the fabric like stars. She didn’t usually pay much attention to fabrics but this one, this one had caught her attention immediately when she passed by.

She flicked one of the pearls, then smoothed out a fold with a defeated expression. Normally, she would not have hesitated to just grab the cloth and bolt, and when the shopkeeper had first eyed her with that hawkish, disdainful expression Kestrel knew all to well, that was exactly what she had planned to do. But now, another feeling crept in, keeping her nailed to the floor as the woman fussed over various fabrics. Was it guilt? Despite her initial impression, the woman had not turned Kestrel away at the door, and had in fact barely hesitated to bring the bolt of pearl-studded fabric out to show her, despite the fact that Kestrel knew it was all too clear she didn’t have the kind of money one would need for this kind of store. And now, she was trying her best to find something else, something just as good, even if she wasn’t quite succeeding. The old woman turned around with a few bolts of fabrics in her arms, the mauve organza, a soft, cream colored fabric that looked somewhat silken texture. A spring green fabric with a delicate white pattern. She placed them all on the table next to the blue fabric. Kestrel inspected them. They all looked nice enough, and she honestly didn’t know much about this stuff anyway. She could patch a shirt if she needed to, or maybe hem a pair of paints, but that was about as far as her skill with a needle went. The real artist was… 

Without even thinking, her hand had moved from the green fabric back to the blue. The woman sent her a sympathetic look. “Do you need it for something special?” she asked, her eyes once again inspecting Kestrel’s attire. From the bowler hat to the suspenders, to the worn, thigh-high boots, Kestrel wasn’t unstylish, but “delicate” and “pretty” was probably not words anyone would use to describe her, unlike the fabric she seemed so taken with. Kestrel glanced at the woman and pulled her hand back with a small sheepish nod. “Yeah, just a gift,” she mumbled with an apologetic smile. Why did she feel so awkward? The woman nodded. Then her brow furrowed, and with a surprising speed, she reached out and snatched Kestrel’s wrist, turning it over in her hand. Kestrel barely had time to react as the woman pushed the sleeve up to expose more of the tattoo that had peaked out under the white fabric. Crude, somewhat faded lines depicting a wolf in a stalking position appeared. The woman regarded it with an iron expression until Kestrel pulled her hand back and annoyed pulled the sleeve back down. She needed to be more careful now that she was back in Ishgard. In Limsa Lominsa or Ul’dah, the tattoo would likely have meant nothing to most people, but here, it was another story. “You run with the Ice Wolves?” she asked, her tone unreadable. Kestrel sighed. If the woman had hesitated to throw her out before, she probably wouldn’t for much longer. “Not anymore…” Kestrel’s tone was dismissive, her shoulders raising as she pushed her hands into her pocket. Maybe she should steal the fabric after all. Tonight perhaps, or another day. She blinked as the woman reached out and tilted her head up to look at her closer. “My... Graham’s sister, are you? Yes, I’ve heard of you.”

Kestrel blinked, surprised. They were well outside of the Wolves’ usual territory, and she doubted Graham would be able to demand protection money in this part of town. The woman’s expression softened. “Well, it was years ago,” she said. “It’s been a while since I’ve seen him. But you do look so much like him.” She let go of Kestrel’s face, inspecting her for a moment. “Tell you what. I owe Graham a favor, he was good to me once. Why don’t I give you a few yards of the blue fabric and you tell him to stop by for tea when you see him, yes?” Kestrel blinked again, stunned. This was not the kind of people she expected owing Graham favors, if that was what this could be called. She finally caught herself and nodded eagerly. “Of course. Thank you, if there’s anything I can ever do for you…” she rambled as the woman pulled out a pair of large, elegant silver scissors decorated with vines and flowers, and cut a line through the fabric. Then she folded it neatly, wrapping a piece of silk paper around it and putting it into a neat, rose-colored box before sending Kestrel a small smile. “Thank you, dear, I will keep that in mind, I am sure you are a person of many talents.” She handed Kestrel the box, and for a moment, Kestrel could have sworn she winked. She took the box with a sense of reverie, looking at it before sending the lady a wide grin and tipping her hat. 

When she left the store, it had started to snow.

Fabric Source

[eenkleinleven]