Belgium’s Bronks theater company was the hit of the Edinburgh Fringe Festival in 2016, with a compelling work about the shocking event in Beslan in 2004, when 1,200 schoolchildren and their parents were held hostage on the first day of school by a group of armed terrorists in the small town of Beslan. The hostage situation lasted for three days and ended in utter chaos with over 300 dead, including 186 children.
This performance is part of No Safety Net. Get the No Safety Net pass now for $120. Individual tickets and student tickets will go on sale to the general public on September 25.
In Us/Them, two characters look back on those three days, when the whole world was shocked that children would be pawns in an adult conflict. They do so with almost scientific precision, attempting to grasp events that in their extreme complexity and horror were utterly beyond comprehension. Us/Them is not an account of these terrible events, but about the individual way that children cope with extreme situations, contrasting their views with those of adults. Through physical storytelling, it shows that for children, things that seem incomprehensible in adult eyes have their own logic. “A playful, comic, and desperately moving piece…Outstanding.” (The Guardian)
This performance is part of No Safety Net. Get the No Safety Net pass now for $120. Individual tickets and student tickets will go on sale to the general public on September 25.
In Us/Them, two characters look back on those three days, when the whole world was shocked that children would be pawns in an adult conflict. They do so with almost scientific precision, attempting to grasp events that in their extreme complexity and horror were utterly beyond comprehension. Us/Them is not an account of these terrible events, but about the individual way that children cope with extreme situations, contrasting their views with those of adults. Through physical storytelling, it shows that for children, things that seem incomprehensible in adult eyes have their own logic. “A playful, comic, and desperately moving piece…Outstanding.” (The Guardian)
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