The last generation, or the 120 days of Sodom | NTGent
09.12.21 10.12.24

The last generation, or the 120 days of Sodom Théâtre de Liège

TICKETS

La Derniere Generation Milo Rau C Dominique Houcmant Goldo 7 Dominique Houcmant
With 'The 120 Days of Sodom', house artist Milo Rau continues to investigate the question of what is depictable on stage.
practical

tickets

15 - 28 euros

general info

✔DUTCH, FRENCH spoken
✔ DUTCH, ENGLISH surtitled


Not recommended for children under 18.

It’s a reflection on today's postmodern society, which balances between hedonism and doom, between 'just be normal' and the petty-bourgeois lust for scandal. An unforgettable drama about the (ab)normality and value of life, staged with actors with intellectual disabilities. 

The 120 Days of Sodom  was Pier Paolo Pasolini’s last film. In the Republic of Saló – the last refuge of some fascist regime – young women and men are kidnapped and held prisoners in a castle by four representatives of a declining totalitarian regime. In a series of sadistically debauched rituals, the young people are abused, humiliated, and finally tortured to death in an orgy of violence. 

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"A unexpectedly humorous piece that raises ethical questions and stings when it needs to"
Charlotte De Somviele - De Standaard

Pasolini’s adaptation of a book by Marquis de Sade has been read as criticism of a social rule that has replaced the fascist system: the modern consumer society, including the normalization of excess and the constant optimization of humansMilo Rau's eponymous production navigates between a poetic interpretation and a very direct, disturbing appropriation of the works of his predecessors, bringing them to the heart of the political and ethical contradictions of today’s Europe.  

So-called professional actors – French Olga Mouak, Flemish actor-director Koen de Sutter and Swiss theatre icon Robert Hunger-Bühler - question their colleagues from Theater Stap, a Flemish company for actors with intellectual disabilities. What do we consider normal and who decides? Why do we preach the diverse, the individual and the deviant – but suppress everything that does not conform to the norm?

Gradually, the questioning turns into a game as brutal and perverse as it is satirical. Humanism and cruelty, beauty and disgust become entangled, to the point of unbearability. Are we, more tolerant and sensitive than all previous societies, perhaps the true fascists?

"Powerful and intriguing"
Laura Cappelle - The New York Times
credits

with

Jacqueline Bollen, Koen De Sutter, Lisbeth De Hertogh, Ann Docks, Robert Hunger-Bühler, Hazina Kenis, Els Laenen, Tanne Lemmens, Luc Loots, Olga Mouak, Leen Teunkens, Bram Vaneeckhaute, Gert Wellens, Gitte Wens

text & direction

Milo Rau & ensemble

artistic director of theater stap

Marc Bryssinck, Ingrid Van den Bergh

Bart Van Gyseghem

direction assistant

Manon Pfrunder

scenography and costumes

Anton Lukas

dramaturgy

Dr. Stefan Bläske, Joline Vermeulen

research & cooperation dramaturgy

Kaatje De Geest

technical manager

Yannik Fontaine

camera

Coralie Denooz

video technique

Gwen Laroche

sound technique

Jérôme Mylonas

light technique

Renaud Minet

general technique

Gilles Maréchal

adaptation of sets and costumes

Ateliers du Théâtre de Liège

production

Théâtre de Liège, DC&J Création

coproduction

Theater Stap, NTGent
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credits

with

Jacqueline Bollen, Koen De Sutter , Lisbeth De Hertogh, Ann Docks, Robert Hunger-Bühler, Hazina Kenis, Els Laenen, Tanne Lemmens, Luc Loots, Olga Mouak , Leen Teunkens, Bram Vaneeckhaute, Gert Wellens, Gitte Wens

text & direction

Milo Rau & ensemble

artistic director of theater stap

Marc Bryssinck, Ingrid Van den Bergh

Bart Van Gyseghem

direction assistant

Manon Pfrunder

scenography and costumes

Anton Lukas

dramaturgy

Dr. Stefan Bläske, Joline Vermeulen

research & cooperation dramaturgy

Kaatje De Geest

technical manager

Yannik Fontaine

camera

Coralie Denooz

video technique

Gwen Laroche

sound technique

Jérôme Mylonas

light technique

Renaud Minet

general technique

Gilles Maréchal

adaptation of sets and costumes

Ateliers du Théâtre de Liège

production

Théâtre de Liège, DC&J Création

coproduction

Theater Stap, NTGent
There's all that future, still Beyond madness, tenderness awaits Only humans can fantasise With closed eyes, you can see whomever you’d like Until it holds from the inside