{"id":64584,"date":"2024-09-23T10:26:30","date_gmt":"2024-09-23T08:26:30","guid":{"rendered":"https:\/\/woordfees.co.za\/uncategorized\/veelhoek-jana-cilliers-vertel-van-haar-en-haar-neef-se-waterwoorde\/"},"modified":"2024-09-27T12:58:41","modified_gmt":"2024-09-27T10:58:41","slug":"veelhoek-jana-cilliers-vertel-van-haar-en-haar-neef-se-waterwoorde","status":"publish","type":"post","link":"https:\/\/woordfees.co.za\/en\/ink-festival-newspaper-2024\/veelhoek-jana-cilliers-vertel-van-haar-en-haar-neef-se-waterwoorde\/","title":{"rendered":"Veelhoek: Jana Cilliers vertel van haar en haar neef se waterwoorde"},"content":{"rendered":"\t\t
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THEATER<\/h6>\n\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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Jana Cilliers: Ek\u2019s dikwels ontuis met my eie woorde<\/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: Veelhoek <\/strong>
VA: Ilza Roggeband<\/strong><\/p>\n\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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Vir Jana Cilliers<\/span><\/strong> is digkuns nie iets om voor bang te wees nie. \u201cDigkuns is nie die vashaakplek nie. Dis tog net \u2019n taal met \u2019n ander ritme en aanslag,\u201d s\u00ea sy oor Veelhoek<\/em>, haar stuk waarin sy in gesprek met haar neef, die digter Barnard Gilliland, tree. Ilza Roggeband <\/span><\/strong>het haar uitgevra oor hierdie diep persoonlike produksie. <\/h5>\n\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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Wat het die saadjie geplant vir Veelhoek<\/em>? <\/strong><\/p>\n

My neef se gedig \u201cSkipbreukelinge\u201d wat my net nie wou los nie. Die haunting refrein van \u201cen waar ek my voet sit, is water\u201d; sy eerste en enigste digbundel (met die titel Veelhoek<\/em>) wat hy nooit sou vashou nie. <\/p>\n

Wat was vir jou die grootste uitdaging in die skryf van die teks? <\/strong><\/p>\n

Ek is geen skrywer nie, het net met heelwat skrywers te doen gekry. Hulle was my rigtingwysers as aktrise. Ek\u2019s dikwels ontuis met my eie woorde, en vertel nie sommer maklik hardop \u2019n storie nie. Maar nou ja, ek dog toe ek ken wel teater goed, en daarby is dit nie net die dialoog wat die storie vertel nie, daar\u2019s meer – die visuele, die stiltes, die verrassings van dinge buite die dialoog en so meer. En daar kry ek toe my wegspringvertroue. Sou \u201cSkipbreukelinge\u201d k\u00f3n werk op die verhoog, moet ek probeer. So om jou vraag te beantwoord: om aan te hou skryf n\u00e1 jy lees wat jy reeds geskryf het! <\/p>\n

Veelhoek<\/em> is nie net oor jou neef Barnard Gilliland en sy digkuns nie. Daar is ook heelwat oor jou eie lewe in die stuk. As iemand vir wie hul privaatheid nog altyd belangrik was, is dit moeilik om daardie deur vir mense oop te maak? <\/strong><\/p>\n

Ek glo as mens persoonlike gebeure of gevoelens kwytraak (bietjie soos naaktheid op die verhoog) moet dit \u2019n sterk verwantskap h\u00ea met die essensie van jou storie of dan die betekenis daarvan. Anders, bly maar weg. Grootoog indulgence loer om elke draai! <\/p>\n

Maar my neef se gedig wat gaan oor sy verwerking van sy beste vriend se selfdood, het na verskeie ompaaie my gevat na my eie \u201cdode\u201d om dit so te stel. Di\u00e9 belig dan weer die lewe. Hoe dit eintlik iets alledaags is, want ons gaan almal eendag dood. Dis net die verwerking daarvan wat \u2019n uitdaging is. My naaste ervaring van iets soortgelyks was my man, Bill Flynn, se skielike en onverwagse dood. So ook aan die einde van hul lewens, my ouers s\u2019n. <\/p>\n

Geboorte en dood is twee gegewe punte op ons lewenskalender. Lewe kan dan skielik omvorm in dood. Ek sou nie s\u00ea ek het besluit om my privaatheid op te gee nie. Eerder dat my neef se reaksie op die tyding van sy vriend se verdwyning, my laat besef het hoe ek 60 jaar later deur dieselfde dinge geworstel het. Ook was ek gefassineer hoe mens tyd ervaar; hoe tyd meetbaar in die gesig van die dood is. In Engels praat hulle van due and undue deaths. It is measured off in time. Tydsaam dan of in \u2019n oogwink. <\/p>\n\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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Mense kan versigtig wees vir digkuns en is dalk skrikkerig dat Veelhoek<\/em> bo hulle vuurmaakplek is. Wat sal jy s\u00ea om hulle anders te oortuig? <\/strong> <\/p>\n

Digkuns is nie die vashaakplek nie. Dis tog net \u2019n taal met \u2019n ander ritme en aanslag. \u201cSkipbreukelinge\u201d byvoorbeeld is \u2019n praatvers en met sy bietjie dialoog vat dit jou tog direk in \u2019n ander w\u00eareld in met \u2019n sterk gevestigde binnegesprek daarby. Jy kry eintlik twee lae dialoog. Ook, glo ek, soos met opera , hoef mens nie altyd als te verstaan nie. Dit wat jy meeleef vertel jou storie. <\/p>\n

Wat hoop jy kry mense uit Veelhoek<\/em>? <\/strong><\/p>\n

Iets persoonliks. \u00carens toe my teks begin vorm vat, was dit vir my skielik baie duidelik dat die gehoorlid sy eie ervaring gaan h\u00ea en dit sal verskil van ander. Ek dink Veelhoek<\/em> bring vrae en nie antwoorde nie. Van my onvergeetlikste re\u00ebls in Gilliland se \u201cSkipbreukelinge\u201d is kortweg: <\/p>\n\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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Woorde woorde ons. Verlos ons daarvan. <\/em><\/h4>\n\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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Ironies is Veelhoek<\/em> woordryk, maar daar\u2019s tog verby die woorde \u2019n hunkering na eenvoud en teerheid wat ek dink veral by die ouer persoon sal aanklank vind. Gilliland teken ook \u2019n jongmensw\u00eareld uit die sestiger jare waarby die jonger geslag van vandag sal byval vind. Reguit en eerlik, eintlik skreiend eerlik. Hy het hierdie lang epiese en liriese gedig geskryf op ouderdom 22 kort voor sy dood. En skielik besef jy die menswees van toe en van vandag l\u00ea na aan mekaar. Sy hunkering na \u2019n helderder begrip van menswees bly bestaan.  <\/p>\n

VEELHOEK<\/a><\/a><\/p>\n

Met Jana Cilliers, Ludwig Binge<\/strong>
Regisseur en ontwerp Marthinus Basson<\/strong><\/p>\n

2 OKT 20:00 | 4 OKT 15:00 | 5 OKT 17:00 | 6 OKT 14:00
60 min | Adam Small-laboratorium
R190 | R220 by die deur
OB 13<\/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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<\/div>\n\t\t<\/div>\n\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<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

<\/i> Ilza Roggeband<\/p>\n","protected":false},"author":3799,"featured_media":64337,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[400,516],"tags":[517],"class_list":["post-64584","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-theatre","category-ink-festival-newspaper-2024","tag-ink-festival-newspaper-2024"],"yoast_head":"\nVeelhoek: Jana Cilliers vertel van haar en haar neef se waterwoorde - 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-festival-newspaper-2024\/veelhoek-jana-cilliers-vertel-van-haar-en-haar-neef-se-waterwoorde\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Veelhoek: Jana Cilliers vertel van haar en haar neef se waterwoorde - 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