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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.
'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.
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).
- 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
- Juul Dekker, Sarah Nixon (assistant)
- video technique
- Emo Weemhoff
- technical production
- HP Hulscher
- coordination production
- Carry Hendriks
- Sophie van Hoorn, Renske Ebbers (intern)
- costume design
- Bernadette Corstens
- Jez Cox and Ivo Pas
- Holland Festival, Kaaitheater
- Czeslaw de Wijs
- 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