#nationale theater

[garadinervi]

Lex Reitsma, Elektra, De Nederlandse Opera [then De Nationale Opera], Het Muziektheater Amsterdam, 2006 [NAGO – Nederlands Archief Grafisch Ontwerpers. Affichemuseum Hoorn]

[chic-a-gigot]

Les Modes : revue mensuelle illustrée des arts décoratifs appliqués à la femme, no. 25, vol. 3, 1 janvier 1903, Paris. Robe de théâtre. Cliché Boissonnas & Taponier. Bibliothèque nationale de France

PAGE 25. — ROBE DE THÉÂTRE. — Robe en mousseline de soie noire sur transparent blanc, incrustée d'entre-deux de guipure de Cluny et de broderie de jais noir.

PAGE 25. — THEATER DRESS. — Dress in black silk chiffon on white sheer, inlaid with Cluny guipure inserts and black jet embroidery.

[ilovetheater-nl]

De jaren van Eline Arbo pakt je en laat je niet meer los

De jaren van Eline Arbo pakt je en laat je niet meer los

Recensie: Mieke van der Raay Afgelopen donderdag 3 november was de première van De Jaren van Het Nationale Theater, in het Spui theater in Den Haag De jaren is de nieuwste voorstelling van regisseur Eline Arbo, naar de Europese bestseller van Annie Ernaux, winnaar van de Nobelprijs voor de literatuur 2022. Met een all-female topcast bestaande uit Hannah Hoekstra, Nettie Blanken, Tamar van den…

[madisonmccoy]

Teo’s interview with Bergens Tidende

translated for y'all below!!

[https://www.bt.no/kultur/i/bgRJ1A/17-aaringen-spiller-hovedroller-baade-paa-nrk-og-paa-dns?utm\_source=kopierlink&utm\_content=deleknapp&utm\_campaign=topp](https://www.bt.no/kultur/i/bgRJ1A/17-aaringen-spiller-hovedroller-baade-paa-nrk-og-paa-dns?utm_source=kopierlink&utm_content=deleknapp&utm_campaign=topp)

This 17-year-old goes from dream role to dream role: He was thrown into it

By: Frank Johnsen and Maria Aarekol (photography)

Published: 27. February 2024

It is not easy being a school student when you also have to handle major roles on TV and in theater.

17-year-old Teo Tomczuk has experienced this in the last few years.

Teo Tomczuk will soon premiere on Den Nationale Scene (DNS, or The National Stage, the largest national theater in Bergen, Norway.)

When Bergens Tidende met him at Den Nationale Scene (DNS) in the morning, he had already been to school, Bergen Private Gymnas (a videregående skole, upper secondary school, in Bergen). He is in his second year there.

Right now, theater rehearsals await him. Teo has been given one of the main roles in Frode Grytten's “Menn Som Ingen Treng" (Men that no one needs), which premieres on the big stage on 6. April 2024.

Won a prize

The recording of seasons three and four of [the NRK series "Rykter"](https://www.bt.no/kultur/i/Qy17gA/her-denger-de-loes-paa-hverandre-i-nrk-satsingen-fra-bergen) has just finished. It took up a lot of the fall and winter.

“Fortunately, my school is supportive of my work in acting and music. My days will be packed, so I have to work in a structured way, be at home a lot of the time, and use Sundays for school work”, says Teo.

Teo Tomczuk has busy days.

His parents are Polish. He grew up in the island municipality of Solund in Ytre Sogn and moved to Espeland three years ago.

The 17-year-old also has a growing music career underway, with concerts and releases planned. 

One of his songs has been A1-listed on NRK P1. Last year he also received the “Luttprisen” prize for best newcomer. This is an award that celebrates the music scene in Sogn og Fjordane.

Teo Tomczuk grew up in Ytre Sogn, while Sisilja Garen, who plays Thea in “Rykter” is from Øystese. PHOTO: ALICE BRATSHAUG (ARKIV)

This year he will return, as a presenter, together with Kjartan Lauritzen (a Norwegian Rap artist), among others. The party will be in Balestrand.

“I love playing music. The goal is to release an album this year. Then a new song will be coming out soon, which is a bit more rock. And in Norsk. I'm really looking forward to putting it out. I'm playing with a band now, so there will be more pressure”, says Teo.

Barely knew what alcohol was

He was only 15 when he got the role of Mathias in the Bergen-produced series "Rykter", which follows a fictional 10. klasse (final year students of lower secondary school) on an island outside Bergen. It is about everything from drugs and alcohol to developing romances and sexual identity.

“There are adult themes, but it was just a matter of getting into the character and listening to the director. I come from a small island and barely knew what alcohol was. So a lot of it was new to me”, says Teo and smiles.

Teo Tomczuk, Sisilja Garen, Martin Storebø Koh, and Alisah Süssmann also have main roles in the next season of “Rykter”. This photo is from the recording of “Rykter” in Telavåg this autumn. PHOTO: ALICE BRATSHAUG (ARKIV)

In the next seasons, the group of friends have started videregående skole (upper secondary school).

“The recording was maybe even more fun now, I felt safer as an actor. At the beginning everything was new, like we were thrown into something. But I actually learned very quickly. It's a fantastic group, everyone supports each other”, says Teo.

The last episode in season two ended with him and his friend in the series, Erik (played by Benjamin Ebbesen), suddenly kissing each other.

“People are very curious about what will happen next. This was the first time I had kissed a boy, and then I also had to do it on camera and with someone I know very well. But it felt natural for the role”, says Teo and he smiles.

A hit in Italy

The first seasons were seen by 200,000 people in Norway and were also a big hit in Italy.

“Italian fans are eager to send emails”, says Teo and he laughs.

Teo Tomczuk plays Mathias in “Rykter”.

Germany is another important market for "Rykter". German funds were also needed to pay for the new seasons, a total of 30 episodes, which are scheduled to be released on the national tv channel in the fall.

Frode Grytten's play ["Men that nobody needs"](https://www.bt.no/kultur/i/XbkPnn/frode-grytten-sitt-nye-stykke-faar-urpremiere-paa-dns-i-bergen) is another step forward.

In the play, the audience meets seven very different men who tell their stories, almost monologues that run parallel with each other. Cover songs are also played throughout which intertwine with the stories.

Teo has done some musicals in the past. Among other characters, he has played Jean Valjean in "Les Misérables" in Nordfjordeid when he was 13.

A mystery

Acting at Den Nationale Scene (DNS) is still not something he would have even dared to dream about.

“I never thought I would get this far”, says Teo.

Teo Tomczuk pictured two years ago, when he released the song “Trust". PHOTO: JANNICA LUOTO (ARKIV)

But it just so happens that the lighting master at "Rykter", Poul Iversen, is married to theater director Solrun Toft Iversen. A recommendation was made, and Teo received a phone call.

Suddenly, the role was his, without an audition.

“It was very good.”

“What role are you playing?”

“I am a man, 19. The role will have a bit of mystery. It starts with me having a conversation with the headmaster at the school about a short story I wrote. It can also be perceived as a message of concern. Then things happen that I cannot reveal.”

“Do you get nervous thinking that 450 people in the audience will watch you on stage every night?”

“No. When I first read the script, I thought it would be difficult. But the script flows naturally, it's really just a matter of reading it over and over again. And to try to understand everything that has happened. Now I feel free, honestly, and can't wait to get started”, says Teo.

Tall for his age

He is the youngest of the actors in both "Men som ingen treng" and "Rykter", and has always been mature for his age. Not so surprising, perhaps, because Teo was already 1.75 tall (5’8” ish) in 4th grade.

Here is Teo in the 7th grade with his classmate Borgar Espeland. PHOTO: PRIVATE

“I have pictures of me and my best friends when I was little, and I'm like two heads taller than the whole gang. And was sure that I was going to be 2.20 (7” ?? 😳🤯). But I stopped growing, so now the others are catching up with me”, he says, laughing.

He has 50,000 followers on Tiktok and 22,000 on Instagram, and he reports a lot of positive feedback.

“I grew up with almost no neighbors, so it's a bit of a strange time that I will be well known again.”

[\~https://www.bt.no/kultur/i/bgRJ1A/17-aaringen-spiller-hovedroller-baade-paa-nrk-og-paa-dns?utm\_source=kopierlink&utm\_content=deleknapp&utm\_campaign=topp\~](https://www.bt.no/kultur/i/bgRJ1A/17-aaringen-spiller-hovedroller-baade-paa-nrk-og-paa-dns?utm_source=kopierlink&utm_content=deleknapp&utm_campaign=topp)

[adarkrainbow]

Do you have any more information about the Michel Carré/Paul Collin "Sleeping Beauty" opera? I had never heard of it until now.

I knew you were gonna ask ;)

And don't worry you're not the only one, I just heard about this very obscure thing today while doing my early post! In fact, when you go check the Wikipedia articles of both Michel Carré and Paul Collin, you find nothing about any potential work on a "Sleeping Beauty" production... The piece is however evoked, described and link when you go check the Wikipedia page for the fairy, Urgèle.

Now the source for this Wikipedia paragraph is actually a double link to two articles stored by Gallica - the online archive of the BNF (Bibliothèque Nationale Française, National French Library).

The first link is here.

This article is from a newspaper called "Les clochettes algériennes et tunisiennes" (Algerian and Tunisian bells) from the 10th of January 1904. It was a Franco-Algerian newspaper about literature, humor and commercial business published every sunday. In the "Theatrical Week" segment you can read that an "opéra féerique" (fairy-opera, "or so claims the poster" adds the journalist) had its premier at the Municipal Theater: La Belle au Bois Dormant, Sleeping Beauty by Michel Carré and Paul Collin with music by Charles Silver (who received a Great Prize of Rome).

There is a recap of the plot that goes as such. Princess Aurore (Aurora, played by Mme Rigaud-Labenz) was recently born, and her five fairy godmothers (Primevère, Rieuse, Brillante, Sensible, Prudente - Primrose, Laughing, Shining, Sensitive and Careful) call upon her health and happiness. The King, pleased, invites them to a copious feast, but suddenly arrives the wicked fairy Urgèle (played by Mme Corot). Angry at having been excluded of the christening, she casts a curse: if the princess falls in love when she is twenty years old, she will die. We jump sometimes later, before the twenty years are passed - the princess Aurore is wandering, sad and dreaming, in the palace's garden, but her father's reassurance that once she goes over her 20th year without falling in love she will be free from the curse convinces her to not take part in the various games and entertainments of her young female companions. However the Wandering Knight appears (played by M. Broca) - welcomed by the king, he finds himself alone with Aurore. He is very openly in love with her, but when she answers favorably to his advances, she falls in a deep sleep as well as all the inhabitants of the castle.

A hundred years later, arrives the Prince (also played by M. Broca) - as he arrives in a forest he learsn from a peasant woman named Jacotte (Mme Stéphane), wife of the peasant Barnabé (M. Vialar) that the castle he sees on the horizon contains a princess who will marry anyone that is able to wake her up. The prince recalls that one of his ancestors told him that, once he had kissed a princess and she had immediately fallen asleep. Barnabé, overhearing the Prince revealing this secret, decides to go wake the princess and become king - but he is too afraid by the forest at night when he tries to go to the castle, and after stumbling over a rod/bundle of wood, it suddenly lifts itself in the air, carrying Barnabé with it (think of a witch's broomstick). Right after Barnabé was carried off in the air, the Prince enters, still thinking about the princess, and in the fog he sees Aurore that calls for help and tells him she loves him. He immediately rushes to the depths of the wood. Meanwhile Urgèle, in her cavern/grotto, calls against the Prince all the spirits of evil, while the flying piece of wood drops Barnabé right next to her. Urgèle puts Barnabé in a royal suit and sends him wake up Aurore, while suddenly, in a flashing light, Primrose appears saying "Aurore will be free, the times are over!" - which turns Urgèle's grotto into a celestial dome filled with springtime flowers, benevolent spirits and butterflies. Despite many obstacles ("flames, monsters and gnomes"), the Prince wakes up Aurore with a kiss on the forehead. All the servants wake up, and the two young royals exchange love vows. The old royal garden becomes green and alive again, and the good fairies appear, with laying at their feet the wicked fairy, vanquished.

After this recap of the plot, the critic-journalist tells their opinion. They point out that "apparently" it was a success in Marseille and Lyon, while it is currently played in Alger at the Théâtre de la Monnaie. According to the reviewer, its success is due to the "scenic and féerique" part of the work, "because, in truth, the music is too rudimentary. It is a musical dictation carefully written by an applied student, without any spelling or grammar mistakes. M. Silver is a Prize of Rome, which means he knows the technique of his art in a deep way. Unfortunately, he is missing something that is not demande for the examinations: inspiration. Not everybody can have genius, but M. Silver reveals himself as a beginner talent who under-uses his own work. Among four acts and one prologue, not one dominant moment, not one spark that makes the well-tooled orchestra alive. The author aimed at a too great simplicity, and comes off with a too-great naivety. And yet isn't the musical formula smoothly handled by M. Silver the best way to strongly express spontaneous feelings?"

The reviewer than says the actors really did their best to portray the characters - Mme Rigaud-Labenz and M. Broca were, "as usual" a triumph and only deserve a flood of praise - while the other characters were "episodic", and were "correctly held". In conclusion "the staging was very entertaining, and the play deserves to be seen". And the reviewer's name is "Frontin"

[As a personal note, the sources keep oscillating between calling this an opera and a theater play... In fact, Frontin clearly seems to call this a play, even pointing out with some irony that the work claims itself to be an opera.]

As for the other article, given this is already quite a lot, I will add this into a reblog.

[histoireettralala]

Camille Saint-Saëns

Paris’s writers and painters were not the only ones in the mid-1880s to feel the pull and tug between the new and the old—or the new and the newer. A certain amount of tension was beginning to emerge within the city’s musical community as well, with the imposing figure of Camille Saint-Saëns standing firmly in the path of whatever threatened tradition.

A brilliant man and a Parisian from birth, Camille Saint-Saëns had been one of the most remarkable child prodigies of his — or any— era. He began piano lessons at the age of two and composed his first piano piece at the age of three. He learned to read and write at a dismayingly young age and then proceeded to vanquish Latin by the age of seven. His first drawing-room recital, at age four, found him confidently playing Beethoven, while his first public concert (in the Salle Pleyel, no less) came at the age of ten.

His prodigious achievements continued through his years at the Paris Conservatory, where he wrote his first symphony. Franz Liszt became a friend and admirer, and Hector Berlioz, another friend and enthusiast, called him “one of the leading musicians of our time.” Disappointingly, Saint-Saëns failed on two occasions to win the Prix de Rome, but the first time it was because he was too young, and the second, because his head-spinning talents seem to have attracted professional jealousy.

One might expect some slowing down as he grew older, but as an adult, Saint-Saëns continued to dazzle. In addition to turning out symphonies, concertos, operas, chamber music, choral works, and compositions for the piano and the organ, he held down the demanding job of organist at the Church of the Madeleine, where he earned the reputation of being among the finest organ virtuosos of the time. With energy and brilliance to spare, he toured as a concert pianist, conducted, and studied geology, archaeology, botany, astronomy, and (no surprise for a musician) mathematics. Later in life he would continue to amaze by his scholarly knowledge of subjects ranging from literature and the theater to philosophy, acoustics, and ancient musical instruments. He wrote poetry and drama, mastered several languages, and by the time of the Franco-Prussian War, he was a veritable national treasure (and by 1881, one of the Academy’s confirmed Immortals).

It was in the wake of the Commune, as Paris was trying to revive itself, that Saint-Saëns helped found the Société Nationale de Musique, with the goal of promoting young French composers —a goal that had a forward-sounding ring. But the vastly cultured Saint-Saëns had little patience with new ideas, at least musically speaking. As the organization’s copresident, he shaped the direction of French music according to his own tastes, which were unquestionably traditional. Indeed, when Debussy’s music became better known, Saint-Saëns would become a severe critic —warning his colleagues that “we must at all costs bar the door of the Institute against a man capable of such atrocities, fit to be placed beside Cubist paintings.’”

Not that anyone, let alone the great Saint-Saëns, had yet heard of Debussy. But at least fate was about to deal the younger man an unexpected favor. Camille Saint-Saëns, who in 1886 debuted what would become one of his most beloved works, the Carnival of the Animals, ran into trouble that same year at the Société, where he was maneuvered out of his long-held leadership post. His main rival within the organization, the composer Vincent d’Indy, engineered the coup and succeeded in putting César Franck in his place (although d’Indy would hold the reins, as secretary). D’Indy was an aristocrat and a royalist, but despite some notable right-wing proclivities managed to produce pupils such as Erik Satie, Arthur Honegger, and Darius Milhaud. And although he had little in common with Debussy, d’Indy would prove to be a reliable champion of music by young French composers, even when he didn’t like what they wrote. Debussy was fortunate, for in this capacity d’Indy would become one of his first supporters.

Mary MacAuliffe- Dawn of the Belle Epoque: the Paris of Monet, Zola, Bernhardt, Eiffel, Debussy, Clemenceau, and their friends.

[usafphantom2]

French Navy tests the new Rafale Marine standard F4.1

Fernando Valduga By Fernando Valduga 04/26/2023 - 13:00 in Military

The "Hunting" detachment of CEPA/10S (center of practical experiments and reception of naval aeronautics) of the French Navy has been conducting Rafale experiments for the new F4.1 standard since February 2023.

This new standard introduces "collaborative combat" through improvements to the SPECTRA self-protection system and the air-to-air firing control of the METEOR missile.

The F4.1 standard also brings many capacity gains, with emphasis on the arrival of the SCORPION helmet aim, the new 1,000kg AASM air-to-ground weaponry, the "NAVWAR" evolution of inertial units, as well as a new software version of the Talios pod laser designation.

CEPA/10S has already flown almost 100 hours on Rafale Marine F4.1. The experimental campaign began aboard the aircraft carrier Charles De Gaulle from March 21 to 30, mobilizing no less than 3 Rafale Marine for the F4.1 standard, a team of more than 60 airborne sailors, DGA experts and manufacturers of the Rafale program.

Almost 40 experimental flights of the new standard were carried out on board, to confirm its suitability for the environment on board, to ensure that the capabilities did not regress compared to the F3R standard and to test the many new features. These flights served in particular to evaluate the specificities inherent in air-to-sea missions: air/sea threats, aging of specific equipment for catapult launches In addition, the opportunities for interaction of the F4.1 standard with the on-board air group and the surface forces at sea allowed to evaluate this new standard in complex conditions representative of the operating conditions of the Rafale (radar jamming by a FREMM DA, GPS blocking by DGA/MI). These complex evaluations, in interaction with the operational units, are in full harmony with the desire to prepare for the high-intensity conflicts and threats present in contemporary theaters.

New SCORPION helmet designating a target by the orientation of the head. (Photo: Dassault Aviation / C.Cosmao)

This campaign aboard the Charles De Gaulle aircraft carrier was also an opportunity to test new features on the ground: reference alignment of the aircraft carrier, F4.1 version of the Harpagon information system (reading of malfunctions), evaluation of the SEFIAM electric cart for displaying all types of ammunition and weapons.

CEPA/10S is now working to finalize the work that will allow the next operational commissioning of the F4.1 standard in naval aeronautics.

Tags: Military AviationDassault Rafale MMarine Nationale / French Navy

Fernando Valduga

Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in specialized aviation magazines in Brazil and abroad. Uses Canon equipment during his photographic work throughout the world of aviation.

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[devosopmaandag]

Vrouwenlevens

Deze week zag ik met vriendin A de theatervoorstelling 'De jaren'*, gebaseerd op het gelijknamige boek van Annie Ernaux, en enkele dagen later 'She said'**, de film over twee journalistes van The New York Times die onderzoek doen naar Harvey Weinstein. Eerder las ik het boek van Ernaux en langer geleden zag ik documentaires over Weinstein en over Jeffrey Epstein. Feit, fictie, werkelijkheid, kunst – vrouwenlevens.

Ik las het boek in grote bewondering. In een ingehouden stijl schrijft ze over haar eigen geschiedenis, die ook de geschiedenis van Frankrijk is en andersom, kortom: een collectieve autobiografie. Zij doet dat met precisie, zachtheid en scherpzinnigheid. Het boek appelleerde vooral aan mijn reflectieve aard. De gebeurtenissen in haar andere boeken zijn rauwer, emotioneler, maar altijd geschreven in haar onmiskenbaar eigen stijl, die sommigen misschien als koel omschrijven. Het toneelstuk, in de regie van Eline Arbo, was het tegendeel: in ruim twee uren speelden vijf actrices van uiteenlopende leeftijden samen de vrouw van het boek. Niets werd geschuwd: verkrachting, masturbatie, abortus, moederliefde, verlangen, angst, spotternij, euforie, bezinning. Alle theatrale middelen werden ingezet: er werd wonderschoon gezongen, rook ingezet, licht, muziek, nepbloed, tafelkleed na tafelkleed werd beklad, bemorst, bevlekt. Ondanks mijzelf misschien wel, maar vooral dankzij de spelers en de regie, werd ik meegesleurd een vrouwenleven in. Na afloop was ik enigszins uitgeteld – en zeer onder de indruk.

Dan was er die goed vertelde, niet sensationele film, waarbij ik vaak moest denken aan documentaires over Weinstein en Epstein, waarin een lange rij van vrouwen vertelden over wat zich binnenskamers bij die twee machtige mannen afspeelde; verhalen die weerzinwekkend zijn en op een bepaalde manier ook stompzinnig. En hoe die gebeurtenissen hun leven bepaalden. Ze zeggen ook iets over de soms onvermijdelijk lijkende kwetsbaarheid van vrouwen en over hoe wel erg veel mannen hun macht laten gelden en die in zijn lelijkste vorm tegenwoordig 'toxic masculinity' heet.

Ernaux zet haar kunstenaarschap, haar gevoeligheid en haar intellect in om niet slachtoffer te zijn maar de protagonist in haar eigen leven. Een verkrachting op jonge leeftijd, een pijnlijke abortus, hopeloze relaties met een getrouwde man en een veel jongere man, de bekrompenheid van haar jeugd, de opwinding en idealen van '68, de daarop volgende deceptie, het consumentisme, de ouderdom, dat alles vormt het materiaal om haar verhaal te vertellen, om te zeggen: dit is de vrouw die ik ben. Maar niet iedere vrouw is een Ernaux.

* 'De jaren' | regisseur Eline Arbo 2022 | Het Nationale Theater | naar het boek van Annie Ernaux | vertaling Rokus Hofstede | met Hannah Hoekstra, Nettie Blanken, Tamar van den Dop, Mariana Aparicio en June Yanez.

** 'She said' | regie Maria Schrader 2022 | scenario Rebecca Lenkiewicz | met Carey Mulligan en Zoe Kazan 

[b-r-theaterkostuums]

Super Human Show

Opdrachtgever: Theaterschip, Theater Gajes en Nationale Jeugdorkesten Nederland

Regie: Maartje Keijzer

Kostuumontwerp: Reindert Kruse en Bert Feddema

2024

Foto: Christein van Hoffen

Meer foto’s van dit project klik op navigatiebalk

[garadinervi]

Frank Beekers, Lies Ros, Rob Schröder / Wild Plakken, De Materie, De Nederlandse Opera [then De Nationale Opera], Het Muziektheater Amsterdam, 1989 [NAGO – Nederlands Archief Grafisch Ontwerpers]

[chic-a-gigot]

La Mode nationale, no. 45, 9 novembre 1901, Paris. No. 1. — Deux corsages élégants pour dames et jeunes filles. Bibliothèque nationale de France

(1) Corsage pour jeune femme ou dame d'âge sérieux, en velours noir, légèrement blousant, cerclé de fourrure blonde devant, et simulant un empiècement, des entre-deux de luxeuil noir sur satin blanc font une riche garniture. Même disposition en épaulettes et au col. Manches à deux bouffants, serrée par des bracelets de fourrure. Haut poignet de luxeuil noir sur transparent blanc, col très montant. Ceinture de panne rubis.

Si l'on fait la robe entière, l'entre-deux de la jupe paraîta continuer celui du corsage; il s'élargira en descendant, en façon d'étole.

(1) Bodice for young women or ladies of serious age, in black velvet, slightly blousy, rimmed with blond fur in front, and simulating a yoke, interspaces of black luxeuil on white satin make a rich trim. Same arrangement of shoulder pads and collar. Sleeves with two puffs, tightened by fur bracelets. High black luxury cuff on transparent white, very high collar. Ruby purlin belt.

If we make the whole dress, the space between the skirt will appear to continue that of the bodice; it will widen as it goes down, like a stole.

Matériaux: 1 mètre satin blanc; 4 mètres velours noir; 0m,60 de panne rubs.

—

(2) Corsage de dîner ou de théâtre pour jeune femme ou jeune fille en soie molle rose pastel, entièrement rayé de comètes de velours noir terminées par des bouclettes. Décolleté en cœur sur un empiècement de guipure blanche souligné de fourrure. Une draperie de mousseline. de soie blanche à ramages roses vient se nouer à gauche. Manche courte terminée par un volant de guipure.

(2) Dinner or theater corsage for young women or girls in soft pastel pink silk, entirely striped with black velvet comets ending in curls. Sweetheart neckline on a white guipure yoke highlighted with fur. A muslin drapery. white silk with pink branches is tied on the left. Short sleeve finished with a guipure ruffle.

Matériaux: 3 mètres de soie rose; 1m,50 de mousseline de soie.

[ilovetheater-nl]

Nationale KinderTheaterWeek van 23 tot en met 30 oktober 2024

Na het grote succes van vorig jaar gaat de Nationale KinderTheaterWeek dit jaar opnieuw van start. Van 23 tot en met 30 oktober 2024 zetten maar liefst meer dan 100 theaters hun deuren open voor kinderen en staat alles in het teken van deze doelgroep. Voor en achter de schermen worden er diverse activiteiten, die vrij te bezoeken zijn, georganiseerd. Fenna Ramos is, net als vorig jaar, weer de…

[rotterdamvanalles]

Corrie van Gorp als Suzanne in Hotel de Botel (1976)

Cornelia Elizabeth (Corrie) van Gorp (Rotterdam, 30 juni 1942 – aldaar, 22 november 2020) was een Nederlands actrice en zangeres.

Corrie van Gorp was een dochter van Piet van Gorp, die deel uitmaakte van het accordeontrio The Three Jacksons.

Van Gorp kwam in 1958 als danseres bij het Amsterdams Ballet en drie jaar later Het Nationale Ballet. Ze kreeg in 1969 een rolletje in de door Wim Sonneveld geproduceerde musical De kleine parade. Ze werd begin jaren zeventig landelijk bekend toen ze samen met Willem Nijholt optrad in twee theatershows van Sonneveld. In 1975 speelde Van Gorp een van de hoofdrollen in de musical Een kannibaal als jij en ik van Freek de Jonge en Bram Vermeulen.

Hetzelfde jaar was zij voor het eerst te zien in een revue van André van Duin. Samen met Frans van Dusschoten vormden de drie jarenlang een populair revuegezelschap. Twee bekende typetjes die Van Duin en Van Gorp samen vertolkten, waren Meneer en mevrouw de Bok. Van Duin bezorgde Van Gorp ook een aantal carnavalhits en filmrollen. Haar grootste succesnummers waren Zo slank zijn als je dochter (1977), Alie van de wegenwacht (1980) en Ik ben tamboer (1981). Tol Hansse en Clous van Mechelen maakten met haar de elpee Corrie van Gorp (1978), met daarop onder andere de single Een Hollandse boerenmeid.

In 1987 trok Van Gorp zich uit het theater terug wegens oververmoeidheid. Daarna woonde ze jarenlang op Aruba. Ook heeft ze in de jaren tachtig in Noordwijk, Zuid-Holland, gewoond. Later woonde zij in Rotterdam.

Grote theatershows deed ze na 1987 niet meer. Haar (geplande) laatste optreden verzorgde zij op 24 september 2007 in Exloo, samen met Van Duin, Lee Towers en Ron Brandsteder en onder begeleiding van het orkest van trompettist Jerry Steyger.

In 2009 was Van Gorp weer te zien op televisie als mevrouw De Bok, in de wekelijkse Dik Voormekaar Show van Van Duin en Ferry de Groot. In september 2009 opende ze (samen met Van Duin, als meneer en mevrouw De Bok) de jaarlijkse Draaiorgeldag in Amsterdam. Ook in het op 30 december 2009 uitgezonden programma ter ere van de 80e verjaardag van Mies Bouwman trad zij samen met Van Duin op als meneer en mevrouw De Bok.

Van Gorp overleed op 22 november 2020 op 78-jarige leeftijd in haar slaap. De uitvaart begon vanaf haar podium in de Oude Luxor in een witte kist.

Foto en Informatie komen van wikipedia.

[gameforestdach]

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