Download GHOST ROAD - BIOGRAPHIES Since Le chagrin des ogres

GHOST ROAD - BIOGRAPHIES
Since Le chagrin des ogres (2009), the actor and director FABRICE MURGIA (b. 1983) has been regarded
as one of the most important theatre-makers in French-speaking Belgium. Only a few years after
graduating, his debut play about the German high-school gunman Bastian Bosse became a hit in
French-speaking Belgium and France. It immediately won him several awards: the Prix OdeonTélérama and the Public Prize at the Impatience Festival. On its international tour it has so far been
performed over one hundred times. Fabrice Murgia’s work as a whole radically breaks away from the
tradition of French spoken theatre and speaks the language of his generation: he uses and
thematises the new media, internet, social networks, electronic music and video art (De Standaard
puts him on a par with Guy Cassiers). Indeed, Murgia uses these technological tools precisely to
question the alienating impact this virtual technology has on his generation, and the blurring of
boundaries between being and appearance. For LOD, he extends his political and artistic research
field with Ghost Road, the starting point for a longer collaboration during which he will collaborate
with Jos Verbist and LOD composer Dominique Pauwels.
DOMINIQUE PAUWELS studied at the Ghent Conservatorium, the Sweelinck Conservatorium of
Amsterdam and at the IRCAM in Paris. In 1991, he graduated in composition and film composition
from the Berklee College of Music in Boston, Massachusetts. Since then, he has increasingly started
focusing on computer technologies and composition software. Since 1991, Dominique Pauwels has
regularly composed for television. In addition, he makes records and CDs (incl. Chris Whitley, New
York) and is regularly asked to compose for theatre (musical), film and advertising. For example, he
provided the music for Lifestyle (1998, Victoria), Not all Moroccans are Thieves (2001, Arne Sierens),
No Comment (2003, Needcompany, Jan Lauwers), DeadDogsDon’tDance/DjamesDjoyceDeaD (2003,
Jan Lauwers & Frankfurter Ballet). Dominique Pauwels has been resident composer at LOD since
2004. There he works in close collaboration with choreographer and dancer Karine Ponties and
director Guy Cassiers with whom he has created Onegin, Wolfskers, Blood and Roses and will be
creating an opera based on Macbeth.With Inne Goris he creates the performance WALL (2010), the
musical installation Daydream, commissioned by Manchester International Festival, the performance
Father, Mother, I and We – LOD & HETPALEIS (2011). In collaboration with Inne and Kurt d’Haeseleer
he created the video performance/installation Long grass commissioned by Kunstenfestivaldesarts
and opens in May 2012.
BENOIT DERVAUX started his career in 1990 as Manu Bonmariage’s cameraman for the RTBF’s
programme Strip-Tease. He worked as a cameraman for a while but decided to develop his own
projects as well. This is when he started his long working relationship with Jean-Pierre and Luc
Dardenne. With their production company DERIVE, they created Gigi et Monica (Jean Lods Prize for
young talent by the SCAM, 1996) and Gigi, Monica et Bianca (Arte Prize for best European
documentary, 1997; Silver Wolf Award of the IDFA, 1997). He did the camera work for La Promesse
(1996) and Rosetta (1998) by the Dardenne brothers. His own project, La Devinière, was presented in
2000 at the CINEMA DU REEL festival in the Pompidou Centre, where it won the Prix des
bibliothèques. He would go on to create A Dimanche, an FR3 documentary. As of 2002, he worked
with choreographer Heddy Maalem in the context of Arte’s Temps d’Images festival. This led to the
creation of Black Spring, which won the Best Dance for the Camera prize (New York, 2003), followed
by L’ordre de la Bataille. Since 2004, Benoit Dervaux has been exploring abstraction and the
hypothetical links between moving images and paintings in his video work. He performed the
photography for Jean-Pierre Denis’ La petite Chartreuse and the camera work for the Dardenne
brothers’ L’enfant. Since 2005, he has been teaching documentary making in Lussac (Ardèche
Images) for the University of Grenoble and working with Olivier Gourmet to provide training in acting
for the camera in the theatre department of the Conservatory of Liège. As part of a tribute to the
Dardenne brothers, the Vienna film archive organised a retrospective of Benoît Dervaux’s films. In
2007, he went on to work with Jacques Doillon for Le Premier Venu, Renato De Maria for La Prima
Linea, then the latest Dardenne films, Le silence de Lorna and Le gamin au vélo.
VIVIANE DE MUYNCK studied drama at the Conservatory in Brussels. She performed in plays at the
Mannen van den Dam collective, De Witte Kraai, Maatschappij Discordia, Toneelgroep Amsterdam,
het Zuidelijk Toneel, Kaaitheater. She performed in plays by Gerardjan Rijnders, Ivo Van Hove, Guy
Cassiers. She worked together with the Schönberg Ensemble, Zeitklang, the Spectra Ensemble, Neue
Music Berlin, Erik Schleichim and the Bl!ndman Saxophone Quartet. Viviane De Muynck makes
regular appearances in film and TV productions. She was twice nominated for the ‘Gouden Kalf’ at
the Utrecht film festival. In 2005 she acted in the first full-length film by Fien Troch, Someone else’s
happiness and also appeared in Geoffrey Enthoven’s film Vidange Perdue (2006). She played a
notable part in the acclaimed television series Oud België (2010). Viviane De Muynck is much in
demand internationally as a guest lecturer on theatre courses and workshops. In addition to this she
has taken to stage directing in Germany. In 2000 she directed the first performances of Die Vagina
Monologe at in Hamburg, and As I Lay Dying (2003), an adaptation of William Faulkner. In 2006 she
was awarded the Flemish Community Prize in the performing arts category.
JACQUELINE VAN QUAILLE completed her studies at the Royal Conservatory of Ghent at a very young
age, where she won First Prize in musical theory, solo singing and lyrical art and was distinguished
with the Grand Prize of His Majesty King Baudoin in Brussels. She then perfected her art in the opera
repertoire with Vina Bovy, from whom she learned a great deal concerning the dramatic power of
music, Ettore Campogaliani (who taught names such as Tibaldi, Bergonsi, Freni and Pavarotti), who
gave her singing a specific Italian tone, and Kaiser Bremer, with whom she focused on German and
Slavic music. Her rich and full career included solo performances at the operas of Antwerp, Ghent,
Liège, Wuppertal and Graz. Her repertoire includes over 75 roles, among them Pamina, Elvira, La
Contessa, Fidelio, Isolde, Elisabeth, Venus (Tannhäuser), Sieglinde, Madame Lidoine (Dialogues des
Carmélites) and all the great Verdi heroines. But Jacqueline Van Quaille is perhaps best known for her
outstanding interpretations of the veristic repertoire (Adriana Lecouvreur, Andréa Chénier, Tosca,
Mimi, Minne, etc.). She has provided guest performances on a great many occasions in most if not all
major music centres of Europe (the UK, Romania, France, Germany, Austria, the Netherlands and
Italy), sung several times at the Festival van Vlaanderen and taken part in TV productions for the VRT,
RTBF, VARA, WDR (in Tristan und Isolde for example, Manon, Otello and Cavaleria Rusticana). Before
this, her singing was already enjoyed at La Monnaie/De Munt in Strauss’s Elektra, Hindemith’s
Mathis der Maler, Offenbach’s Orphée aux Enfers and Berlioz’s Les Troyens..