Jesus’ blood never failed me yet. This one thing I know, for He loves me so. (Unknown homeless , London 1971)
After their much-discussed, spectacular production Van den vos (About Reynard the Fox), FC Bergman made a location-based production with just the six core members of its company.
FC Bergman drew inspiration from the majestic Rubens’ Gallery at the Royal Museum of Fine Arts in Antwerp to tell a gripping story about this museum gallery, its works, and above all the people who seek solace and shelter in the museum. Following a series of performances in Belgium and the Netherlands, Het land Nod has now been invited to the Festival van Avignon (FR) and the Zürcher Theater Spektakel (CH).
« Like the French film directors in the 1960s, the FC Bergman theatre-makers are triggering a new wave on the theatre scene. Parallels include their youthful enthusiasm and innovative language. » – Lotte Philipsen in Focus Knack, 5 May 2015
“In this set, in the bare light of eternity, human figures are too small for the task for which life conceived them. This is particularly well illustrated by Stef Aerts, who plays a museum employee in grey overalls with a degenerating sense of duty. His folding measuring stick proves too short for the measurements of history. His sledgehammer is too heavy, his ladder too unsteady to cope with the walls of his existence.… In this atmospheric, scriptless production, FC Bergman measures up to the greats: the mystical naturalism of Romeo Castellucci, the disconsolate absurdism of Christoph Marthaler, and the dancing dynamics of Pina Bausch. And all that gives Het land Nod visual grandeur.” – Wouter Hillaert in De Standaard ***, 9 May 2015
“In Het land Nod the small naked human being seeks the protection of the huge walls of the museum. This produces some fascinating images, which make even a less stratified FC Bergman show an impressive experience.” – Evelyne Coussens in De Morgen ****, 11 May 2015