He has a soft spot for the unfinished man, without romantic about wanting to do it. They know what it is. “Without armor, it won’t.’ ‘Sometimes the pinnekes on the inside.’ A pas de deux with television and theatre-maker Dominique Van Malder and poet Delphine Lecompte.
Of Malder: “I was always quite expressive. And funny. Reason why I was always picked out for toneeltjes. Like that time they Jesus sought. But yes, when I was already thick. I hung on a cross, the teacher touched me and said to the class: “Look! A Jesus with tetjes.” That was my first public appearance. Then I thought: wait, this Jesus with tetjes you will still hear it.”
Saturday, read in dS Weekblad the dubbelinterview with Delphine Lecompte and Dominique Van Malder. Below you can read a preview.
Was the poetry redzamer than psychiatry?
Lecompte: “I was devastated psychiatry within, and there went another destroyer outside. I have enjoyed the contact with the others. Everyone is there together: orphans, ex-whores, bipolar fishermen…’
Lecompte: Yes, from Knokke. I’m not making this up. I was there then too much nested. It was we, geblutste people, against the nurses. We steel our files, and laughing destroys us with what we read. How far they apart were. There was an animal shelter nearby. I went for a afternoon walk with the dogs, I think it has more to it than I did to what they me in the psychiatry aanreikten – pills especially. All I have badminton to learn to play.’
Of Malder: “I, too, am prone to… Let me say that I every two weeks to a therapist, go. I have for years, since my adolescence, severe nightmares, paranoid dreams. Three to four times per week. I slaapwandelde not, I slaaprende, a time almost of the balcony. I only later realized that that stopped when I school was going to do. The arts can not be cured, they can at least cast a spell, and I don’t want to be ironic or minimalist. Let there be in daily life please especially of poetry, in all senses of the word. We are still such a good with z’n all, more concerned with the deadline of our investments on tax than what we are or feel. I love a Herman Brood his one-way ticket paid with a sketch. And his taxes with three schilderdoeken.’
A. you.b. no romance
What you get, if you life ad fundum lives: real art. “Pain is real pain, pleasure is really a lot of fun,” wrote The Standard Chasse Patate of Studio Orca. The poems of Delphine Lecompte bring a man, according to her colleague Carmien Michels, ‘on the edge of the uncomfortable, the embarrassing, the perverse and the absurd’.
The audience gets the fruit of, the artist is the applause. But to live with it does the artist only.
Of Malder: “It may not even have been Bread. Or Charles Bukowski. That I have with all my head and body played (in BUKO of Abattoir Fermé, eds.). I know why I have such a person, a representation. I know the ruffle itself well.’
Lecompte: “just Call me the Flemish Bukowski. (laughs) It may be too bright, as hard as everything always arrives. That tries to give you want to turn it off. Alcohol and Xanax dampen the incentives. I allowed myself not to much to spoil.’
And if the mute fails?
Lecompte: “Then I stay awake and I wander around on the street. I undoubtedly interesting people, but also less good people. As in the past. I was so restless, day and night. I have a high mileage, in state of increased sensitivity. The art consists to stun without all surfaces. I committed myself sometimes to unrest. I can enjoy lack of sleep because I’m slightly paranoid, go feel, what my poems. But that dangerous life of the past? No, I’m glad it’s behind us. That there is now still a little bit of stability and security. It is sad, been. The marginality is not something to be romantic about to do.”
Of Malder: “Absolutely true. I have in my family also things that I as a child should not have to see. What alcohol with people. I come from a working class family, my father comes from a family of eleven children, my mother of five. There was everything in between, of topchirurgen to wrecks of people. A branch of the family is really The misfortunates. It was not that, but it has made me formed. It explains why I have a passion for what I have in my theatre work apparently had to look up: the unfinished man, the margin.’
“We had not wide home. We are with our family, but one trip went to Benidorm, I was two years old. My parents worked in the Philips plant in Dendermonde. They lost their job, when they are 50 and 45. My mom still has a while in the nursing homes worked, my father did chores. I have them so hard to see to work for no money, that I thought: I especially want my desire to do. My brother reacted very differently to that lineage. He made to much money. That worked out well, he is in the world of accountancy.’
Owes not any artist the unfortunate youth?
Of Malder: “Oh, but I have a warm childhood. There was only that geremdheid, the humility of the common people. I was Latin-Greek, my father did not want to sit: “Allez boy, that is for dokterskinderen.” Theatre? “Are you crazy?” Always but That is nothing for you.” “Too high”. Now I, myself, father, I have realized that it mainly revolves around your child’s support in what it does. That my parents had still a bit to do.’
‘Crazy, but I have theater had the need to get closer to them. For my final year project at the theatre school I have my parents been interviewed. That was healing. And with Studio Orka, I have a piece played in which I mirrored to my father. He is never to come and watch. Which is a pity. He had a lot of in recognized, perhaps it even can help you.’
Lecompte: “I was 14 and all my peers were crazy on ‘Smells Like Teen Spirit”. I just wanted to Manic Street Preachers to hear. All we want from you are the kicks you’ve given us.’
Of Malder: (with his Radio Gaga-voice) ” And to whom do you want this picture to instruct, Delphine?’
Lecompte: “my mama, of course.”
The full episode of Villa Hellebosch with Delphine Lecompte and Dominique Van Malder you read Saturday in dS Weekblad and standard.be.