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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.

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The last part of the Trilogie des parenthèses, After TheWalls (UTOPIA/DYSTOPIA) continues to explore the links between individuals and where they live, and one last time tackles the issue of the isolation of mankind.

UTOPIA is a fictional conference, a theatrical celebration,during the course of which an architect shares his visions of the future: an unprecedented architectural dream, a real utopian explosion, as a solution to the social, demographic and ecological challenges of our era.

In After the Walls (UTOPIA) a speaker shakes upper conceived ideas on contemporary habitat. A cheeky and quite insane theatrical piece by a Belgian playwright who dares (…) It seems impossible while watching this show not imagining a sequel or response. Anne-CécileVandalem intended it.

H. Le Tanneur, Les Inrocks, November 2013.

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