Madcap (4+)

A free translation of the Flemish slang word Speelvogels, meaning playing children. A splendid word for a splendid event: children at play. And when a child plays, alone or with others, in that game reality gets a face. In MADCAP three dancers enter the stage to conquer their place in the game, to share their imagination and to confirm their friendship. Relationships are put on the test, choices are enforced, because the number 3 takes its toll. With simple objects three children build a world that offers room for imagination and friendship. By following the stream they get to know the riverbed. Simple causes have great consequences.

MADCAP is made with minimal means. Small bird cages, big eggs, a metal bucket or an udder-shaped surgical glove, they all create a farm-like atmosphere. That’s the playground on which three little ladies do their discovery dance. So, how do you dance with an egg? You can chase it as it rolls across the floor or floats through the air. Or you can try and lay one, sitting on a bucket, or even throw up one…
A collection of plastic pipes can be used either as a couple of braces for a herd of imaginary cows or as the steering wheel of an old tractor, on which to roam acres of land. Or are they part of a bicycle, or maybe a boat? During the next scene air gets pumped underneath the dance floor, turning it into a wavy surface that has the dancers splashing around for joy.
Jack Timmermans’s choreographies are very playful and sometimes they seem to evolve spontaneously. Timothy van der Holst’s music ranges from lively and exuberant to melancholy, leaving more than enough space for the audience’s imagination. As does the entire performance.

Sometimes three is a crowd, even at play. Two dancers move across the stage like friends, complementing each other. As soon as a third dancer wants to join in, things start to go wrong. Taking turns on being the odd one out, they all stake their claim to the center of attention. But once one of them plays bagpipe on a bicycle pump, like sisters they do a jumpy clog dance including some real thigh-slapping. At the end of the performance, a little bird seems to crawl out of one of the eggs. But is it really a bird? When the dancers try to hold it, all they’re left with is a pile of fluffy feathers. This bird has flown.

Choreography: Jack Timmermans
Decor and props: Bert Vogels
Music: Timothy van der Holst
Costumes: Karisma Costumes; Sabrina Zyla, Ben Voorhaar
Light design: Anne Schwarz

THEATRE

De Stilte is the only professional dance company in the Southern region of The Netherlands, that focuses entirely on developing and producing performances for children. Established in 1990, De Stilte has thus far launched 24 performances and 12 special projects. Over a period of fourteen years (1994-2008) there have been 1,784 performances, attended by over 250,000 visitors.
On a yearly basis De Stilte’s educational activities (i.e. workshops, introductions and lessons) add up to 500. The year 2001 proved to be pivotal, when both the City council of Breda and the Province council of Noord-Brabant translated De Stilte’s importance to the region into structural subsidies. January 2009 De Stilte (being the only newcomer in the field of performing arts) was admitted to the Basic Infrastructure of the Dutch Ministry of Culture, Education and Science, guaranteeing structural funding for a four year period.
Based in Breda, De Stilte has two studios, one of which fully equipped as a theatre. In 2008 alone 184 shows were realized, with a total of 26,581 youthful visitors. Education is an integrated part of De Stilte’s approach. Besides its professional activities, De Stilte also offers amateur dance courses for children (4+) and adults. At the moment 157 people take lessons at De Stilte; 88 adults, 21 youngsters and 48 children.
Under Jack Timmermans’s artistic direction De Stilte creates multilayered performances featuring academically trained modern dancers. These different layers guarantee accessibility to all ages. Not only does De Stilte apply its qualities to theatre visitors and school youth, it also reaches out to children less privileged. According to the vision that the imagination offers new ways for each human being, every child needs to see,
hear and feel the magic of the unknown. Every step from imitation to imagination means a leap toward the great unknown. In a world that’s changing rapidly, it is necessary that each child’s creative capacities
are addressed.