Contestant for Gouvernement’s longest atelier resident
Craving a moment of reflection and a table for all the collected objects
Depending on Kircz’ preferences, he adds and removes objects from the box without ever regarding them as disposable. The content always changes, meaning the play is never the same and can never be played exactly the same. The candy bar wrappers, buttons, a match box, confetti, glitter tubes, stones and acorns – now all displayed, the overview creates a sort of throwback of one year of altering his project. A moment of reflection, as it were.
The play’s sustainable and unfinished structure teaches us to think beyond the rat race of developing pieces, presenting the completed products and instantly return to creating more pieces. Just like the objects, his plays aren’t disposable products. He emphasizes process, not just on a theoretic level but throughout his general practice. Onduidelijk Correspondenties can therefore be approached in many ways: as an intimate play, an exposition or even a workshop.
Instead of focusing on what is to be presented, his practice primarily centralizes processes and other fundaments of theatre – or what he considers the basis of it.
Kircz has many projects up his sleeve.
Currently a resident at De Koer with our very own Leontien Allemeersch, he’s working on a play about an egg, has decided to collaborate with a dance artist for at least 20 years (thus highlighting an entire practice instead of one product) and is thinking about developing a series of plays using the same objects or scenography.
Oh, and he mentions something about a musical.