Performer, mimer & theatre maker

Performer, mimer & theatre maker

Theatre creature

The concepts performer and maker are very close together for me. I would call myself a “makende speler” (performer with a big vision on making) (a concept within the mime with which I can connect well). I almost always perform and create from playing, building from what is now. In practice I rarely sit down at the side and think for a long time, I try things out immediately. As a player I desire to find my own logic on the stage.
“I’m a visual thinker, I want to see it happen.
Even better, I’m a physical thinker, I want to do and experience it.”
I’m trained quite diverse. Before I started the Mime education in 2017, the focus was mainly on “traditional acting”, text and music theatre. At an early age I got in touch with various theatre classes, performing in operas and productions. 
During the Mime education I became more interested in the physical aspect of acting, I started to delve into my body with its possibilities and limits. I have been given the opportunity to research and develop my vision regarding theatre(making). I participated many different movement classes such as posture, Corporeal Mime (mime technique), acrobatics, Kung Fu, Chi Kung, yoga, partnering, Laban and other forms of dance. As a constant guideline, I participated various acting, text, mime and theory classes during the first three years.
Added to that, various projects with makers from outside of the school, makers of the Directing-education and my own projects.
CV download
My essay
Recent projects

I’ve heard people say that …

…I am a precise performer with a great sensitivity to space and timing
…I am a playful impulsive mover with a large body
…qualities that characterize me naughty, absurd and down to earth are
…I am someone with surprising offers, someone who thinks along, plays and makes with full dedication in the process of the work
…I am a performer with little hassle on one hand, but also very diverse in terms of qualities

What is mime?

A common misunderstanding is the confusion between mime and pantomime. Two concepts that do not mean the same at all. Where pantomime often has an expressive (almost illustrative) and clownish character, mime does not particularly has this.
The Dutch mime as we know it today germinated long ago at Étienne Decroux’s, who developed the movement theory Mime Corporel. A technique that is still taught on the Mime school. His Dutch students took his technique to Amsterdam to further develop it there in 1960. A mime movement emerged in the Netherlands, which radically broke with the idiom of pantomime. Dutch mime players and makers went in search of interdisciplinarity in innovative ways. Taking the body and movement as their starting point, they looked for cross-fertilizations with music, visual art, poetry and architecture. Frits Vogels founded the first version of the Mime school in 1962. Since then, the Dutch Mime made important contributions to innovations within the theater landscape.
To go even more specifically on the question “what is mime?” I would like to refer to this translated quote from Marijn de Langen, theory teacher on the Mime school and theatre scientist.
The question “What is mime?” Is comparable to the question “What colour is a chameleon?” A clear answer is not possible. Mime is sometimes red, sometimes yellow, sometimes traditional, sometimes innovative, sometimes wordless, sometimes linguistic, sometimes public-friendly, sometimes elitist, sometimes humorous, sometimes sad, sometimes endlessly fascinating and sometimes there is nothing to it. None of these properties are inherent to the mime. Its versatility is its power. “
I would like to refer to her thesis “Mime denken” (Mime thinking).