Gavrilo Princip

World premiere

De Warme Winkel

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Dutch theatre group De Warme Winkel takes us back to one of the main turning points in modern history: 28 June 1914. Gavrilo Princip and five of his friends have hatched a plot to assassinate Franz Ferdinand, heir to the Austro-Hungarian throne, during his visit to Sarajevo. But their pistols misfire, their grenades explode too late or not at all and the plan fails miserably. By sheer coincidence, a little later Gavrilo finds himself face to face with Franz Ferdinand. The last thing Ferdinand sees is a weedy little man with no shoulders and a thin moustache.

Applying its idiosyncratic brand of humour, De Warme Winkel serves up a maniacal, orgiastic, theatrical reconstruction ending in carnage and mayhem.
Programme Icoon

Background Information

'In a relatively short period of time, they have built a reputation as one of the most exciting theatre companies around' – De Volkskrant

 

Gavrilo Princip came from a poor farming family who lived in the Grahovo valley in northwestern Bosnia. At the time of the assassination, he had only recently joined the underestimated group of Serbian nationalists who planned the murder of Franz Ferdinand. At first, the assassination attempt failed spectacularly: the pistols of three of his fellow would-be assassins failed to fire. Two hand grenades were then thrown at Franz Ferdinand’s car, but these exploded under the next car in the convoy. The Archduke insisted on continuing his procession through Sarajevo, but it was decided to change the route on security grounds. Gavrilo Princip, assuming that the assassination attempt had failed, was hungry and, a little way away from the planned route of the procession, went into a baker’s shop. History does not record what he ordered – however, we do know that, upon emerging from the shop, he suddenly found himself face-to-face with Franz Ferdinand. He shot him dead. The banality of this coincidence, coupled with Princip’s inauspicious background and contrasted with the incredible impact of his deed, forms the starting point for this anniversary production. Certain

individuals’ desire to achieve immortality through a single, destructive deed is horrifyingly contemporary and retains the power to shake the very foundations of our society.

Biography

Established in 2002, De Warme Winkel is a Dutch actors' collective with the core of the company consisting of Mara van Vlijmen, Jeroen De Man, Vincent Rietveld and Ward Weemhoff. Often guest actors, musicians, directors or other artists are engaged to collaborate on projects. De Warme Winkel seeks to show the world in all its complexity and incomprehensibility, translating this approach into clear performances which are accessible to a wide audience. A theatre company with a love of history and a fascination for our own confused and complicated times, De Warme Winkel's performances are events in which they play with different styles, forms, expectations, clichés and icons. Taking the audience along on a journey of discovery, by means of a playful, witty and sometimes tough struggle they try to reveal the essence and the beauty of the subject matter. De Warme Winkel's style is energetic, performative and visual. From a strongly conceptual base a tightly orchestrated pandemonium is created, utilising literally all possible theatrical means at their disposal; in order to celebrate a paradox, focus on a dilemma or pay tribute to the beauty of the issue at hand. De Warme Winkel makes use of all possible styles and influences: from Stanislavski to Artaud and from ballet to slapstick.

With their 2006 performance of Totaal Thomas, De Warme Winkel kicked off a series of 'repertoire pieces' – Rainer Maria (2007), Villa Europa (2009), Alma (2009)and Kokoschka Live! (2010) – about Austrian artists presented under the title Weense Herfst (Viennese Autumn). In 2010, at the invitation of Festival De Internationale Keuze of the Rotterdamse Schouwburg (International Theatre Festival Rotterdam), the company created the performance Poëten en Bandieten(Poets and Bandits) about the poet Bois Ryzhy, which spawned a series of plays on Russians, including Jandergrouwnd (2012) and Stroganoff (2014). As well as the repertoire plays, there has been a series of productions which emerged directly from the company's involvement with current affairs, including Viva la naturisteraçion! (2011), Luitenantenduetten (2011), San Francisco (2012) and We are your friends (2013).

Credits

concept, performers
Jeroen De Man, Maria Kraakman, Vincent Rietveld, Mara van Vlijmen, Ward Weemhoff, Mark Kraan (understudy)
final direction
Marien Jongewaard
sound composition
Remco de Jong, Florentijn Boddendijk
lighting design
Prem Scholte Albers
scenography
Juul Dekker, Sarah Nixon (assistant)
video technique
Emo Weemhoff
technical production
HP Hulscher
coordination production
Carry Hendriks
production
Sophie van Hoorn, Renske Ebbers (intern)
costume design
Bernadette Corstens
technique
Jez Cox and Ivo Pas
coproduction
Holland Festival, Kaaitheater
Research
Czeslaw de Wijs
surtitles
Elly Scheele
English translation
Renske Ebbers

'In a relatively short period of time, they have built a reputation as one of the most exciting theatre companies around'

De Volkskrant

This performance was made possible with support by