oa Op zoek naar de verloren authenticiteit

In the show De Warme Winkel speelt De Warme Winkel (original working title: Plagiaat) two generations of De Warme Winkel actors – three of the “originals” and three trainees – make an attempt to dance Pina Bausch’s Café Müller almost 40 years after the original production. But why are these untrained dancers trying to put on an iconic piece of dance theatre dating from the late seventies in an expensive copy of the original stage setting? What does the show say about nostalgia, the longing for authenticity and the transience of lyric expression?