To share the stage with naked people, though it is not at the same time, is too sensitive in the muslim community. That is, according to NTGent why Fatima Ezzarhouni departing from the play “Lamb of God”.
Friday and Saturday, they are still in the opening of the new NTGent, Sunday afternoon showed Ezzarhouni default. According to director Milo Rau, the external pressure her too much. Fatima had a problem with the suggestions that they are physically present in a performance in which naked people are participating. There spoke a lot of people her on, both from her immediate surroundings as well as from the muslim community. However, Ezzarhouni never together on the stage with the naked Adam and Eve …
Friday and Saturday, they are still in the opening of the new NTGent, Sunday afternoon showed Ezzarhouni default. According to director Milo Rau, the external pressure her too much. Fatima had a problem with the suggestions that they are physically present in a performance in which naked people are participating. There spoke a lot of people her on, both from her immediate surroundings as well as from the muslim community. However, Ezzarhouni never together on the stage with the naked Adam and Eve. Her own question comes to them only after their scene, and she leaves the stage for the second naaktscène at the end.’
At the request of Ezzarhouni sent NTGent Saturday had issued a press release to confirm that the two muslim women in the cast, in addition to Ezzarhouni also the Turkish cleaning lady Güllüzar Calli, so at no time share the stage with naked people. To no avail.
“I find it very sad and hard to understand,” says Rau. “We have still tried to get Fatima to convince. As the only of her needs, she had certainly participated. But the pressure from outside was too great. We respect her decision to stop.’
Tears on the stage
Noteworthy: according to Rau, is the reason of her departure so it wasn’t the violent story that the scene tells, about her son who, five years ago to Syria went there last month died.
‘Four weeks ago, Fatima ” s night news that her son had died in Idlib. She slept not, but came the day after the rehearsal. For her that was very appealing, perhaps even a kind of therapy. She had depressed to stay at home, but they chose it anyway in order to continue to participate – though that was certainly not simple for her. I thought that was incredibly clever.’
At the premiere felt that it was her effort, it took the suicide note to her son to read. Her tears were not played, her testimony cut off in the audience. Says Ezzarhouni that she is proud to play the role of Maria can play in Lamb of God, ” for Mary too had many problems with her son. Remains of course the question: has she perhaps underestimated what she would do to her story for a full room?
According to Milo Rau plays a combination of factors. ‘There was not a single noise to Lamb of God, they lost last month, her son, her family is traumatized and she was the last time many in the media because of her political engagement (Ezzarhouni for CD&V in Antwerp in the local elections, ed.).’
The mediarel of Friday, about Adam and Eve, that during a scene a ‘erotic choreography’ for the eyes of a children’s choir, has, according to Rau, the pressure from the muslim community do to increase. “But even before that it was the pressure already there. I suspect that there are also from a political angle pressure came, just as the family of the wife of her deceased son.’
Alternative: audio clip
Not only the altarpiece of the brothers Van Eyck fog with The righteous judges panel, also Milo Rau’s version of “Lamb of God” is wrong now a sleutelscène. How should it continue with the remaining performances?
Milo Rau was looking for together with Fatima, is a solution. “They no longer wanted to be physically present on stage, but proposed to make an audio recording of a previous entry. Actor Frank Focketyn explains the situation during the piece. We wanted Lamb of God to create a performance about a community: it was symbolic to Fatima ” s story live, but it is equally now that they are only using audio to wants to hear.”
In the career of Milo Rau is the not the first time that actors, professional or amateur, have to deal with pressure from the outside to get out of the project. ‘In ‘Hate Radio’ (a partly fictional re-enactment on Radio Milles Collines to call for the genocide in Rwanda, ed.), there was lots of pressure from the family of the actors. You can, even if you are an actor, or speak about genocide and the money with it also? That kind of moral questions comes into my projects more often to the surface.’