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

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

Replaced until May 2021 by
Eva Wilsens – eva@dasfrauleinkompanie.com
+32 496 900 241

Administration
Lila Pérès – lila@dasfrauleinkompanie.com
+32 484 14 55 21

Production
Daria Bubalo – daria@dasfrauleinkompanie.com
+32 488 84 58 82

Production on tour
Jill De Muelenaere – jill@dasfrauleinkompanie.com
+32 485 24 89 09

Technical director
Damien Arii – damien@dasfrauleinkompanie.com
+32 486 28 71 50

Press
Plan Bey Agency
Dorothée Duplan, Camille Pierrepont & Fiona Defolny
assisted by Louise Dubreil
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

 

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With the support of Fédération Wallonie-Bruxelles – Theater department

The website was created thanks to Bruxelles Invest / export

 

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Formed in 2008, Das Fräulein (Kompanie) was established to develop and promote the work of Belgian artist Anne-Cécile Vandalem. Its theatre creations are original works conceived, written and directed by the artist herself. Das Fräulein (Kompanie) is currently subsidised by the Wallonia-Brussels Federation.

In 2003, Anne-Cécile Vandalem began to create and write the shows ZAÏ ZAÏ ZAÏ (2003) and HANSEL AND GRETEL (2005) with Jean-Benoît Ugeux. Her preference has been for fiction ever since.

From 2008 to 2013, the notion of home played a leading role in her work. It is seen as the perfect place of confinement, through which and with which everything happens. Starting from an ultra-realistic universe, she has defined the context of so-called domestic tragedies on an individual level in (SELF)SERVICE at the Théâtre de Vidy-ETE (Lausanne), on a family level in HABIT(U)ATION (2010) at the Théâtre de Namur (Belgium), and on a collective level with AFTER THE WALLS (UTOPIA) at the Théâtre National de la Fédération Wallonie-Bruxelles during the Kunstenfestivaldesarts. These shows make up the Parentheses Trilogy.

Alongside this trilogy, she also created MICHEL DUPONT with the sound engineer Brice Cannavo to reinvent the opposite of the world in a sound show for adults and teenagers.

In 2014, Anne-Cécile Vandalem began exploring the modalities of posture and imposture. She questions a subject/individual’s capacity for action and transformation of reality within different societal spheres, and within her writing addresses the issue of disclosure and fragility as an honest and/or strategic posture. Her creations LOOKING FOR DYSTOPIA, STILL TOO SAD TO TELL YOU and WHAT CAN I DO FOR YOU?  each in their own way bear witness to these new aesthetic concerns.

In 2016 she created a diptych on sadness, comprising STILL TOO SAD TO TELL YOU (video installation) and TRISTESSES.

ARCTIQUE, which premiered in 2018, is the second part of a trilogy on the end of humanity through major failures of our time.

In 2019, Anne-Cécile Vandalem joined forces with the Schaubühne am Lehniner Platz to create DIE ANDEREN, a show performed in German by the company’s actors.

In 2020, the artist was preparing to recreate TRISTESSES in German for the Burgtheater in Vienna but this was postponed due to the COVID-19 health crisis.

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Born in 1979, Anne-Cécile Vandalem is a Belgian actor, writer and director.

After studying performance at the Royal Conservatoire in Liège, Anne-Cécile Vandalem started her career in acting, working for Belgian directors and theatre companies such as Charlie Degotte, Dominique Roodthooft and Transquinquennal.

She started writing for theatre in 2003 with ZAÏ ZAÏ ZAÏ ZAÏ (2003) followed by HANSEL AND GRETEL (2005)*, and she has had a preference for fiction ever since.

Between 2008 and 2013, she set about writing and producing a trilogy on the topic of home as a place of confinement and isolation through which and with which everything happens. Starting from an ultra-realistic universe, she has defined the context of so-called domestic tragedies on an individual level in (SELF) SERVICE (2008), on a family level in HABIT(U)ATION (2011), and on a collective level with AFTER THE WALLS (UTOPIA) (2013).

Alongside this trilogy, she also created MICHEL DUPONT, RÉINVENTER LE CONTRAIRE DU MONDE, a sound fable for adults and teenagers.

In 2014, Anne-Cécile Vandalem began exploring the modalities of posture and imposture. She questions a subject/individual’s capacity for action and transformation of reality within different societal spheres, and in her writing addresses the issue of disclosure and fragility as an honest and/or strategic posture. This has led to three creations in different media: STILL TOO SAD TO TELL YOU (video installation), WHAT CAN I DO FOR YOU? (project in the public space) and LOOKING FOR DYSTOPIA (multimedia work).

After these came TRISTESSES, the first part of a trilogy on the end of humanity, which premiered at the Festival d’Avignon in 2016. TRISTESSES combines theatre, film and music, and earned her the award for the best show at the Prix du Théâtre 2016 (BE), the prize for the best foreign show at the Prix de la Critique 2018 (FR) and the “performing arts” writing prize from SACD (BE).

ARCTIQUE, the second part of this trilogy, was presented at the 72nd Festival d’Avignon. Blending theatre, film and music, the show is a detective novel set against the backdrop of global warming.

KINGDOM, the final part of this trilogy, will premiere in 2021.

Anne-Cécile also works abroad, particularly with the Schaubühne in Berlin (DE), where she created DIE ANDEREN, a fable of anticipation that tells of the abuse taking place in a small village that gradually closes in on itself in the wake of a terrible event. The arrival of a stranger fleeing the fires in the south awakens hostile, protective behaviour.

Anne-Cécile is currently adapting DIE ANDEREN for the cinema.

 

* These two shows were written with the actor Jean-Benoît Ugeux.

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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.

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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.

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