PROJECT

De erbarmelijke staat van de wereld waarin we leven en het gebrek aan ecologische moed in zijn thuisland zette de Amerikaan Andros Zins-Browne aan tot de creatie van The Host. Met in de hoofdrol de cowboy; hét Amerikaanse symbool bij uitstek van het individu dat zijn omgeving beheerst, gebruikt en controleert. Maar hoe lang kan deze vrijbuiter nog standhouden in een omgeving die steeds meer van hem vervreemdt? Een overdosis testosteron op boots voorzien van een vleugje slapstick maken van The Host een prettige tragedie over hoe we flink ons best doen om van onze planeet een post-apocalyptische omgeving te maken.

The Host ging in première in mei 2010 tijdens BUDA fresh in Kortrijk.

“This deconstruction of an image of manlihood turned this into one of the nicest evenings of Tanz im August.”

Sandra Luzin, Der Tagesspiegel, Berlin

“When the three cowboys set foot on stage in The Host do what cowboys have always done. They set to work, clean up and rip the floor out from under ornery nature in order to use that floor for the western dance of civilization. That is, until nature – in the form of gigantic inflatable air cushions created by the artist Stefan Demming － turns everything upside down again. This isn’t just an amusing pot-shot at masculine self-images. With The Host, the choreographer Andros Zins- Browne has created a stage installation full of slapstick humor and stoically born effort, in which a cowboy becomes Sisyphus and in all seriousness poses questions to what extent the world can be conquered. Andros Zins-Browne has found a clear aesthetic approach that negates any single, one-dimensional interpretation. It is rare that elements of dance and visual art come together in such an essential manner and develop their very own language of images.

Jury statement from the Goethe Institute Prize, Festival Impulse 201

“In its concreteness, [The Host] is a troubling image of the position of mankind.

Pieter T’Jonck (De Morgen)

“With his choreographic work, The Host ties Andros Zins-Browne to the works of Jérôme Bel and Xavier Le Roy and yet is different in several ways – in his search for the connection between visual art and dance, and in his serious investigation of folkloric dances.”

Tom Stromberg, Theater Festival Impulse