{"id":107113,"date":"2026-10-10T16:55:08","date_gmt":"2026-10-10T14:55:08","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/resensie-atropa-die-wraak-van-vrede\/"},"modified":"2026-10-10T18:27:17","modified_gmt":"2026-10-10T16:27:17","slug":"resensie-atropa-die-wraak-van-vrede","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-atropa-die-wraak-van-vrede\/","title":{"rendered":"Resensie: Atropa: Die wraak van vrede"},"content":{"rendered":"\t\t
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SPIER THEATRE<\/h6>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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\u2019n Lamentasie vir die vroue<\/span><\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Produksie: Atropa: Die wraak van vrede<\/em><\/strong>
Deur: Marina Griebenow<\/strong>
Foto\u2019s: Nardus Engelbrecht<\/strong><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Drie millennia n\u00e1 die Trojaanse oorlog betaal vroue en kinders steeds die prys vir mans se magsug en oorlogsugtigheid. In Tom Lanoye se aangrypende Atropa: Die wraak van vrede<\/em> word die gruwels van die verlede \u2019n ontstellende spie\u00ebl vir die hede, skryf Marina Griebenow<\/strong><\/span>, en wonder: Wanneer is genoeg dan genoeg? <\/h5>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t
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Tydens die KKNK in Oudtshoorn vroe\u00ebr vanjaar is in die media en elders groot gewag gemaak van die bekroonde Belgiese dramaturg Tom Lanoye se toneelstuk Atropa: Die wraak van vrede <\/em>wat daar gedebuteer het. Di\u00e9 drama, onder spelleiding van Marthinus Basson, is \u2019n toonvenster vir die robuuste aard van die Afrikaanse toneel tans en spog met \u2019n rolverdeling wat vier geslagte top-aktrises verteenwoordig: Antoinette Kellermann, Anna-Mart van der Merwe, Rolanda Marais, Roeline Daneel en Carla Smith. Geon Nel moet sy man kan staan tussen di\u00e9 formidabele vroue en d\u00edt doen hy baie oortuigend. <\/p>

In Atropa<\/em> tree Lanoye in gesprek met Die vroue van Troje<\/em> wat die Griekse dramaturg Euripides in 414 v.C. geskryf het. Dit ondersoek die tragiese uitwerking van die mens se onversadigbare en o\u00ebnskynlik onblusbare oorlogslus. Euripides se drama is tydloos en dwingend oor die krag van die vroulike gees desondanks die onbeskryflike wreedheid waaraan hulle in oorlogstyd onderwerp word, asook die godskreiende opofferings wat mans en die gode van hulle eis. Die herinnering aan hul dapperheid en uithouvermo\u00eb is myns insiens die enigste rede waarom \u2019n mens deur 150 minute se uitbeelding van ongebreidelde verdorwenheid sal sit. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Die vertaling in Afrikaans \u2013 wat hy self behartig het \u2013 is in sesvoetige jambiese versmaat wat die gevoel van \u2019n oneindige lamentasie laat posvat. Die taal self is digterlik en emosiebelaaid. Afrikaans in haar omvangryke skoonheid en veelsydigheid is in Atropa<\/em> aan die bod. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Gehore by die Toyota Stellenbosch Woordfees het die afgelope week uiteindelik die kans gehad om Atropa<\/em> te beleef in een van die fees se nuwe venues, \u2019n reuse-saal waar \u2019n mens sou dink spektakel eerder as intimiteit tuishoort. Gelukkig is die regisseur Marthinus Basson se verbeelding s\u00f3 ryk dat hy nie sukkel om di\u00e9 teenpole saam die ruimte ten volle te laat bewoon nie. Sy visie vir Atropa<\/em> vind eerstens uiting in die stel- en beligtingsontwerp van Nicolaas de Jongh. <\/p>

Nicolaas sorg dat die stel sowel die w\u00eareld aan die Griekse tuisfront voorstel (die eerste en laaste deel van die stuk), asook die Oostelike front waar die Trojaanse oorlog plaasvind (die tweede deel). Sowat \u2019n derde van agter is daar \u2019n ho\u00eb staal-balustrade vanwaar die Griekse opperbevelvoerder Agamemnon (Geon Nel) sy soldate bemoedig, indoktrineer en oprui. Dit dien ook as skeidslyn tussen die w\u00eareld van die vroue en kinders \u2013 die gesin \u2013 en die oorlogsfront. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Die beligting speel \u2019n belangrike rol om spesifieke gebeure te onderstreep, soos oppervlakke wat rooi gloei waar moord en doodslag plaasvind. Terwyl jy die gebeure volg, registreer di\u00e9 rooi oppervlaktes in jou onderbewussyn en stem jou al hoe meer onrustig namate die storielyn ontvou. <\/p>

Die Griekse vloot l\u00ea in die hawe \u2013 op die verhoog voorgestel deur \u2019n armada van wit papierbootjies op \u2019n tafel \u2013 gereed om na Troje te vertrek om die ontvoering van die skone Helena (Rolanda Marais) deur Paris te wreek. Daar is egter geen wind nie en die gode eis \u2019n offerande. Ifigeneia, die jongste dogter van Agamemnon en Klutaimnestra, is die prys wat betaal moet word. Die prys van di\u00e9 bloedoffer is hoog: 10 jaar van onophoudelike oorlog, die vernietiging van Troje en die Trojaanse kultuur, asook die verbrokkeling van Agamemnon en \u2019n ontredderde Klutaimnestra se huwelik. Die vroue van Troje se koningshuis word gevange geneem en verguis en verneder. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Aan die begin van sy teks noem Lanoye dat Atropa ook die genusnaam is van belladonna oftewel doodskruid, daardie plant waarvan elke blaar, blom of druppel vog dodelik is vir mens en dier. Die metafoor is onmiskenbaar \u2013 dieselfde geld vir oorlog. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Aristoteles noem Euripides die mees tragiese van die digters weens die intensiteit van sy reaksie op die lot en lyding van die Trojaanse vroue. Lanoye be\u00efndruk eweneens met die diepte van sy insig in die lyding van die vroue, sowel Grieks as Trojaans, hoewel sy aanklag verder strek en die magsug, patriargie en die geweldspolitiek van vandag ook omvat. Die vertaling in Afrikaans \u2013 wat hy self behartig het \u2013 is in sesvoetige jambiese versmaat wat die gevoel van \u2019n oneindige lamentasie laat posvat. Die taal self is digterlik en emosiebelaaid. Afrikaans in haar omvangryke skoonheid en veelsydigheid is in Atropa<\/em> aan die bod. <\/p>

Die Trojaanse vroue wat as buit gevange geneem word, is Hekuba (Antoinette Kellermann), die koningin van Troje, haar skoondogter Andromache (Roeline Daneel) en Kassandra die waarsegster. Andromache het die afgryslike voortuisig dat haar babaseun by die stadsmure afgegooi word om te verhoed dat die koningshuis van Troje weer herrys. Hoor \u2019n mens nie vandag dieselfde argument ten opsigte van die kinders van Gasa nie? <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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\u2019n Mens wil nie \u2019n onderskeid tref tussen die aktrises wat in Atropa<\/em> die onderskeie karakters vertolk nie, juis omdat die diepgang en onderskeiding wat elkeen na hul karakter bring bydra tot die gehoor se ervaring van gebeure wat jou hart en gewete raak. Daar is n\u00earens \u2019n swak skakel te bespeur nie, net die gravitas van ervaring en toewyding by Antoinette, Anna-Mart, Rolanda, Roeline en Carla. <\/p>

In Atropa<\/em> loop Hekuba rond met kledingstukke aan haar eie klere vasgemaak as verteenwoordigend van diegene wat sy verloor het. Die las van die droefheid word net groter en swaarder tot dit later onhoudbaar is. En die verskrikking is nie beperk tot gebeure in Troje drie millennia gelede nie. <\/p>

Oor \u2019n paar weke is dit in Bloemfontein die 100-jarige herdenking van die begrafnis van Emily Hobhouse, kampvegter vir verguisde vroue en kinders in die Engelse konsentrasiekampe van die Anglo-Boereoorlog. Die wendrama in vanjaar se ATKV Woordveertjie vir beste dramateks, Nicola Hanekom se Deur die donker uur<\/em>, gaan juis oor di\u00e9 gebeurtenis. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Haar hoofkarakter neem teen die einde die persona van Justitia aan en s\u00ea dan in die woorde van Emily Hobhouse self: \u201cSolank die stelsel van oorlog gehandhaaf en beoefen word, sal hierdie tragedies gebeur. Want onder die stelsel word enigiets en alles geregverdig. Nie vrouens of kinders word gespaar nie.\u201d Sy belowe dan: \u201cOns sal probeer om ongedaan te maak alles wat hulle en ander soos hulle veroorsaak het, die weedom, die verwoesting, en al die verdriet.\u201d Met ander woorde, om te ontsnap aan die wraak van vrede waarvan Lanoye praat. <\/p>

An Iliad<\/em> deur Denis O\u2019Hare en Lisa Peterson is ook pas hier by die Toyota Stellenbosch Woordfees opgevoer met Alan Committie in die rol van die Verteller. In di\u00e9 herverbeelding van Homerus se epiese gedig Die Ilias<\/em> word \u2019n verband getrek tussen die Trojaanse oorlog en hedendaagse konflikte, natuurlik om die soveelste keer die aandag te vestig op die mens se oorlogsugtigheid. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Dit laat jou egter met die vraag: Wanneer is genoeg dan genoeg? In die geval van Atropa<\/em> is genoeg nie eens genoeg as daar niemand anders oor is nie, net \u2019n hoop bebloede vrouelyke. Die antwoord l\u00ea opgesluit in die naam van die drama. Lanoye vernoem sy toneelstuk na Atropa, die Griekse godin van die noodlot, die onbuigsame een wat die lewensdraad knip. In die verhaal van die Trojaanse oorlog speel sy natuurlik \u2019n kardinale rol. <\/p>

Aan die begin van sy teks noem Lanoye dat Atropa ook die genusnaam is van belladonna oftewel doodskruid, daardie plant waarvan elke blaar, blom of druppel vog dodelik is vir mens en dier. Die metafoor is onmiskenbaar \u2013 dieselfde geld vir oorlog. Niks en niemand word ontsien of oorgesien nie, nie eens Agamemnon nie. N\u00e1 alles sit hy net met die wraak van vrede \u2013 verwoesting, leegheid en droefenis. Dit laat \u2019n mens wonder wat wag op die inwoners van Oekra\u00efene, Gasa, Soedan, Iran en soveel ander oorlogsones as daar wel eendag vrede moet kom? <\/p>

\u2019n Mens sidder om te dink aan hoe baie vroue daar en op ander plekke reeds Ifigeneia se emosies en woorde net voor hul dood moes ervaar:<\/p>

\u201cDit is s\u00f3 stil… Is dit om my ontwil? Sodat <\/p>

ek gewoond kan raak aan die stem van my bestemming?\u201d<\/p>

Mag dood en geweld nie aanhou om ons as vroue se bestemming te wees nie en mag oorlog nooit weer sy aangesig hier wys nie. Genoeg is genoeg. <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Atropa: Die wraak van vrede<\/strong><\/a>
11 OKT 18:00
Open Window-kampus
R235-R350 | R265-R380 by die deur<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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<\/i> Marina Griebenow<\/p>\n","protected":false},"author":3799,"featured_media":107112,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"footnotes":""},"categories":[613,819,824],"tags":[817],"class_list":["post-107113","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-spier-theatre","category-ink-feeskoerant-2026","category-fringe","tag-woordfees-2026"],"yoast_head":"\nResensie: Atropa: Die wraak van vrede - Toyota Stellenbosch Woordfees<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/woordfees.co.za\/en\/ink-feeskoerant-2026\/resensie-atropa-die-wraak-van-vrede\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Resensie: Atropa: Die wraak van vrede - 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