Renée Goethijn followed the maker training at the Ritcs in Brussels. She explores the boundaries between theater and visual arts. She creates visual, absurd performances and installations that relate to our society in a critical way. Her triptych To get properly confused you have to put your head underwater/UFOs/Two things to do and two more things to do was selected for TAZ Jong Werk 2013. After graduating, she will be accommodated for a year in KcNona within a young makers program. . She works there, among other things. participates in Katja Dreyers Chronicle and concludes with her own creation Reconstruction of the day I left. She was also a guest player and maker at Bookers&Hookers, co-directed with Dries Gijsels with No Use For Binoculars (2015) and Totally (2017) with KWP Pianofabriek and Monty; and directed the youth creations KERET! (Bronks) and The secrets of the universe are hidden under a pile of pigeon poop (Larf!).
Within Kloppend Hert she is one of the permanent supervisors of Jong Gewei and she worked on Studio Shehrazade. Together with a number of other ex-Ritcsers, she founded in 2014 K.A.K., a horizontal alliance of 16 theater makers, tinkerers, thinkers and other cheaters. With K.A.K. she looks for other forms of creation, presentation and collectivity. K.A.K. creates performances, one-off theatrical events, sessions and encounters. This season they are touring with the shows SNØW and Life, Death and Television. Renée is currently preparing a new creation entitled MANNAHATTA, which will premiere next season at De Vooruit in Ghent.
Photo: C-mine cultuurcentrum
In TOTALLY, Dries Gijsels and Renée Goethijn try to create a performance in which nothing can go wrong. A preventive solution is provided for every possible problem that could arise. The possibility of an empty hall, a forgotten piece of text that changes the whole meaning, fire, a flood, the death of an actor on stage, everything is covered. Together with performers David Chazam, Lotte Diependaele, Micha Goldberg and Femke Stallaert, Gijsels and Goethijn examine how far they can go in this.
They start from the question: if nothing can go wrong, can anything substantial still happen? Can we still deal with the fundamental uncertainty that comes with life? How imbued have we become with the belief that reality is completely controllable? Do we still dare to allow the unexpected? Do we still dare to get lost?
TOTALLY shows a reflection of a touristised world where chance and uncertainty are systematically shunned for the sake of comfort, convenience and efficiency. So expect a highly uncomfortable, extremely uncomfortable and utterly inefficient depiction of what can happen, when nothing more can happen.