Left without any support and direction, outside of any theatre circle and left to ourselves, we had to devote ourselves completely to selling performances we had – and those performances that were most practical – for the transportation, the least of things, props, etc.

We had to earn a certain amount of money a year because we had permission in the Netherlands to stay on the condition that we could prove to the government (foreign police) that we were able to provide ourselves with sufficient income by playing shows.
On the artistic plane, we and our productions suffered. Because of the money, we were forced to play anywhere. Often in completely wrong places. For example: Leopoldine at fairs and markets, at street events or in cafes.

Because we were not able to choose the venue and the audience, there was often a lack of reaction that we expected and we often encountered misunderstandings.

We collaborated with agencies and impresarios who most often sold comedies, circuses and cabarets, and had no connection or understanding for the sensibility and meaning of our performances. We were misrepresented.

Here and there were successful performances, here and there we played in theatres, both classical and alternative, but all in all there was no plan or system, a mere struggle for survival.

Share This Story, Choose Your Platform!