A play after the novella by Willem Frederik Hermans - Friday 6 & Saturday 7 October, 19:45
NLMagazine/Amsterdam Kunst & Cultuur - After the success of the original run of Paranoia in October 2022 and Quad Loop in March/April 2023, directed by Inge-Vera Lipsius, we are bringing back this first TMH theater production in its original format—specially conceived for our stijlkamer and performed in virtual darkness...
Running time: 1 hour (Performed in NL, enjoyable for those who speak EN)
Direction & adaptation: Inge-Vera Lipsius
Cast: Valentijn de Jonge, Guusje te Pas, Jasper van der Pijl, Frans Limburg
'I’m surrounded on all sides. How can I defend myself?'
A man, haunted by the war, brings the war to his home. Paranoia is the first stage adaptation of Willem Frederik Hermans’s 1948 novella. How can we live with violence? How can we live with each other? This thriller-like adaptation—staged where the original story takes place, in an Amsterdam canal house—links Hermans’s riveting text to our time.
Willem Frederik Hermans is considered one of the “Big Three” authors of Dutch postwar literature. His most famous works include The Darkroom of Damocles (1958), Beyond Sleep (1966), and An Untouched House, also included in the short story collection Paranoia (1953). This new play is the directorial debut of Inge-Vera Lipsius and stars a young cast.
© Arjen Veldt
Paranoia is supported by the crowdfunding platform voordekunst, the AFK (Amsterdam Fund for the Arts), and the Amarte Fund. With special thanks to the Willem Frederik Hermans family and the Hermans Institute. The novella Paranoia is published by De Bezige Bij.
Please note: The show contains themes of violence/abuse. It will be performed in virtual darkness in an enclosed space and contains sudden loud noises.
JCJ Vanderheyden: Reflections
Last chance: Through 15 October
While interrogating the crossovers of science, society, and art in different mediums such as video, photography, digital sound, and installations, Vanderheyden would take up and abandon painting—creating, by way of these periodic reversals and moments of surrender to new mediums, some of the most radically post-minimal, post-painterly works. It is as though what mattered most was not to confront the world’s overextended infrastructures, but to invite us to contribute our own knowledge, to prompt us to enter into the technological flux in order to understand its direction and impact on life (and art).
—Marsha Plotnitsky
LocatIon
Herengracht 254, Amsterdam
