He has actually put an Isis fighters mom in the Ghent Altarpiece and restaged a harsh murder. Now the Swiss director strategies to get extreme
W hen Milo Rau initially saw the Ghent Altarpiece , one information jumped out at him. While Hubert and Jan van Eyck’s 15th-century work of art is typically appreciated for the enthusiastic scale of its Lamb of God scene, the Swiss theatre director focused on Adam’s sunburnt hands. “They are red due to the fact that the design came straight from the fields to be painted,” he states the early morning after the best of his brand-new Altarpiece-inspired production, Lam Gods . “It’s art as a cumulative procedure, made with typical individuals.”
It is a viewpoint Rau is trying to use to an organization he has actually long decried as elitist and preoccupied with the classics: the city theatre. Beginning this season, the 41-year-old is now the director of among Belgium’s primary locations, NTGent , and has actually kicked things off with a community-oriented production. Lam Gods is the Dutch name of the Altarpiece, on screen at St Bavo’s Cathedral near the theatre, and Rau brought 21st-century designs to the phase to transform, through a video setup, the scriptural figures and characters painted by the Van Eycks– Ghentians from all strolls of life.
“I wished to have a tune for the commoner, so everyone comprehends: this is my theatre, my city,” Rau states. While he went far for himself with intriguing independent work that questioned truth, from re-enactments of worldwide trials ( The Congo Tribunal , The Last Days of the Ceausecus ) to expeditions of paedophilia ( Five Easy Pieces ) or the Rwandan genocide ( Hate Radio ), he felt as if he ‘d “pertain to a limitation” with his production business, the International Institute of Political Murder . “And I believed: like Godard states, you can just criticise bad movies by doing a much better movie.”