Das Fraulein Kompanie Logo

Artistic Direction
Anne-Cécile Vandalem – annececile@dasfrauleinkompanie.com

Executive producer
Audrey Brooking – audrey@dasfrauleinkompanie.com
+ 32 489 75 77 52

Tour manager
Marie Charrieau – marie@dasfrauleinkompanie.com
+32 492 50 47 44

Press
Plan Bey Agency
Dorothée Duplan & Flore Guiraud
assisted by Eva Dias
bienvenue@planbey.com
+33 1 48 06 52 27

Head office
Rue de la Tulipe, 67
1050 Brussels – Belgium

Operational Site
Le Bocal
Rue Van Eyck, 11 B
1050 Brussels – Belgium

nous contacter
follow Das Fräulein Kompanie on facebook  facebook

With the support of Fédération Wallonie-Bruxelles – Theater department

The website was created thanks to Bruxelles Invest / export

 

Tags: , , , , ,

Founded in 2008, Das Fräulein (Kompanie) is designed to develop and promote the work of Belgian artist Anne-Cécile Vandalem. The resulting creations are original works that the artist conceives, writes and directs. Das Fräulein (Kompanie) is currently subsidized by the Federation Wallonia-Brussels.

In 2003, Anne-Cécile Vandalem began to create and write plays: Zaï Zaï Zaï Zaï (2003) and Hansel and Gretel (2005) with Jean-Benoît Ugeux. Already, fiction is her preferred medium and her essential means of expression.

From 2008 to 2013, habitation plays a major role. The artist sees it as the perfect place of confinement, by which and with which everything happens. Starting from an ultra-realistic universe, Anne-Cécile defines the framework of so-called domestic tragedies, within an individual frame with (Self) Service, a family one with HABIT(U)ATION and a collectives one with After The Walls (UTOPIA).

But Looking for DYSTOPIA, hinge show currently being written, opens a new cycle of work for the artist.

In 2014, Anne-Cécile Vandalem leads off exploring the modalities of posture and imposture. She questions the subject/individual’s capacity for action and transformation of reality within different societal spheres, and addresses the issue of disclosure and fragility as honest posture and / or strategic one in her writing. Her new productions  Still too sad to tell youTRISTESSES and WHAT CAN I DO FOR YOU?  testify in their own way these new aesthetic concerns.

Tags: , , , , , , ,

In 2003, Anne-Cécile Vandalem began to create and write plays: ZAÏ ZAÏ ZAÏ ZAÏ (2003) and HANSEL ET GRETEL (2005) with Jean-Benoit Ugeux. Already, fiction is her preferred medium and her essential means of expression.

 

From 2008 to 2013, habitation plays a major role. The artist sees it as the perfect place of confinement, by which and with which everything happens. Starting from an ultra-realistic universe, Anne-Cécile defines the framework of domestic tragedies, within an individual frame with (SELF)SERVICE, a family one with HABIT(U)ATION and a collective one with AFTER THE WALLS (Utopia).

In 2011 she creates MICHEL DUPONT réinventer le contraire du monde (2011) a sound show for adults and teenagers.

 

In 2014, Anne-Cécile Vandalem began exploring the modalities of posture and imposture through two performative projects LOOKING FOR DYSTOPIA and WHAT CAN I DO FOR YOU?.

 

In 2015 Anne-Cécile creates a diptych about sadness:  STILL TO SAD TO TELL YOU (video installation) and TRISTESSES (theater performance).

 

ARCTIC (2018) is the second part of a Trilogy dealing with the end of humanity through the great failures of our time.

Tags: , , , ,

Reinventing the opposite of the world

Held prisoner in the basement of her home for twenty-six years, a young girl tells the tale of her imprisonment, the story of an escape.

Michel Dupont is a fable told through sound. In a room that’s plunged in darkness, the audience is invited to sit down on a cushion, inside a circle marked out by eight walls, opposite a miniature house enthroned in the middle. The room is slowly plunged into complete darkness, and the audience is taken right to the heart of the story. Combining the heritage of the folk tale and the testimonies of contemporary news stories, the play develops a theme that is dear to the author’s heart from a new perspective: the absolutely essential, vital strength of the imagination in a situation of prohibition and imprisonment.

And so we are invited into captivating sensory world, where each individual’s imagination will take its place at a crossroads: a physical, visual, sonorous, collective and intimate experience. Carved on to a tale told on- and off-stage, offering different levels of narration and an array of sound textures, under lighting that oscillates between dreaming and wakefulness, Michel Dupont guides us and loses us at the heart of a kingdom in which we must find meaning.

No, black is not black. In a matter of minutes, the eyes get used to the dark, notices shadows, nuances, and the other senses sharpen. Like your hearing, which changes your perception of the tale. There are many people who, at 11 o’clock, come to experience “Michel Dupont, réinventer le contraire du monde”, her new work, performed at La Manufacture, the hub of Avignon’s Off festival. And word of mouth – inevitably – works wonders. Every day, there are a few more people who come and lie down in the dark, in a circle, around the tower, and let themselves be captivated by a story told through sound. (…) Here again, with finesse and relevance “Michel Dupont” explores the themes that are so dear to the author: imprisonment and the vital force of the imagination in this type of situation. Here is a tale told by the Das Fräulein company, which could have been called “I, Michel Dupont, resilient.” And it haunts us.

La libre, Laurence Bertels, July 2012.

Tags: , , , , , , , , , , , , , , , , , , , ,

Hansel and Gretel is about isolation and the possibility of overcoming it, and about our relationship with morality: what aspect of the morality with which we have been imbued, very often to our own cost, persists in us despite all opposition?

Following a forbidden love, a brother and sister have become distanced from one another since childhood. Years later, they meet in the cellar of the family home to consummate their love in secret. The story takes place on their wedding day. In order to make it an occasion, they have invented a cast of guests whom they themselves have filmed and played on camera. A throng of friends, cousins and relations on parade in the intimacy of their cellar. But as the evening progresses, the guests become less friendly and the skeletons do not take long to come out of the closets… They will become prisoners in a game of their own making.

In the centre of the stage is a large decorated wedding table is. The actors/characters are sat in the middle. Sitting imposingly alongside them are seven television screens showing close-ups of their guests faces. The audience assists in a game of identity hide-and-seek in which the actors/characters struggle with their own production and enter into fierce combat with themselves. A perpetual mise en abîme, the set is at the centre of a plot with multiple layers.

Highly impressive, the new production from Jean-Benoit Ugeux and Anne-Cécile Vandalem continues their exploration of solitude which began with Zaï Zaï Zaï Zaï. We encounter an isolated couple, this time confronted with their wedding guests. But nobody is there: the married couple have played and filmed their guests themselves. The synchrony between the actors and the tv screens is staggering. The sense of coldness which it creates is equally incredible. Our attention gets lost somewhat, but the mind seethes as we gradually understand the profound reasons behind all these goings on. A production which is as distressing as it is majestic.

Laurent Ancion, Le Soir, 2006.

Tags: , , , , , , ,
Das Fraulein Kompanie Logo