Lotte van den Berg wants her audience to experience, with all its splendor, discrepancies, and secr

Imaginary Cinema | Theatre Newspaper wind up doorbell
A dozen people dashes set on the Old Canal in Utrecht, the height of the bus lane wide. The next ten minutes is all happening on the street made specifically for them. Their eyes are the camera, the streets and buildings of the film set, the passers-by on this warm summer evening wind up doorbell shopping pass the extras. Until everyone stopwatch wind up doorbell after ten minutes of the opening scene breaks, each for himself filming his imaginary wind up doorbell film. In Cinema imaginary Lotte van den Berg, you are responsible for the performance. Not spectators but participants: that's the motto. And actively looking. There is always more than you see at first.
Lotte van den Berg will help you with that. By giving new tools after each scene 'guides' they do the movie in your head. A film that will exist. Of five scenes in total After the opening scene, she asks you to choose a subject which could be a person, wind up doorbell a building or an object wind up doorbell are. Nothing should be allowed and all, she stresses. These are just handles.
From a fixed point of departure for the Old Canal, the first four scenes arise. Lotte van den Berg makes us aware of the ways we can influence what we see around us and experienced intervene. By entering, or just against it. Along with the rhythm of the city By looking. Hidden, present or dominant Take control over your own world, they seem to want to give it.
It delivers beautiful wind up doorbell sensations and beautiful images. After each scene is a brief summary in which space to exchange experiences. It is all in all a lovely wind up doorbell place. One marvels at buildings noticed him before the other about the great variety of remarkable people (characters, it seems) that you encounter on the street in ten minutes. Fun experiences that are, but no real eye-openers.
For the last scene we all take place at the foot of a statue on the Janskerkhof, we're looking at a street leading to the cathedral. This scene is a bit different. We now start as spectators. We look at the street as we the last four scenes did, just now sitting in a row. And then, after a while, you step into it himself. You run your own film, and thus also that of others. Sitting on the improvised stand, there is a nice game with passersby and people across the terrace who wonder what we are watching. A nice double of which they are part of our performance, while we have a performance for them.
Finally, we are taken to a small room backstage at the Utrecht wind up doorbell theater. An old-fashioned projector shines white light on a bare wall. It is up to us to take that white light one by one. Place Because everyone a moment to describe him or her in a particularly deep impression, this experience ends in a fragmentary compilation of urban scenes, an imaginary film portrait of Utrecht.
Lotte van den Berg wants her audience to experience, with all its splendor, discrepancies, and secrets. Reality It is in that context that she's been adding (theatrical) elements carefully. Far beyond what tips and a framed timeframe not. Come The idea is nice, but in practice it is an experience that everybody has occasionally and rarely lasts: the realization that there is so much beauty is where you usually, with the gaze to the ground, just walk past. A well known and ephemeral sense, that one day is always wind up doorbell fades again. It should be possible, without the participants wind up doorbell lose their own responsibility, to transcend. The ordinariness of this experience subtle ways
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