For Trap Town, directed by choreographer Wim Vandekeybus, a scenography was developed rooted in a fascination for labyrinths. Inspired by the Labyrinth in C-Mine (Genk), the choreographer requested a décor that straddles the line between a backdrop for film projection and a stage set, effectively evoking the spatial ambiance of the performance. Stripped of concrete space and time, Labyrinth evokes a mythical city, strongly reminiscent of a maze with its many alleys, narrow streets, underpasses and generally disorienting character. It is the ultimate public space to get lost in. However, a maze is not merely disorienting but is also surveyable when observed from above. This characteristic was also exemplified in C-Mine, where the labyrinth can be seen from the old mine shaft towers.
In the scenography, this dual character was revisited and translated into a twofold structure. Firstly, there are fragments of a labyrinth on either side of the stage. Secondly, the onset of a maze is visible against the back wall of the scene. Here, the "walls" were conceived as a kind of visual map for the audience. This arrangement allowed the audience to simultaneously experience the impenetrable side view of the labyrinth, and the panoramic overview from the top.
The vertical floor plan situated against the back wall served a dual purpose — it was used by the actors as platforms to stand and climb on, while the entire back wall, along with the protruding walls of the floor plan, was utilized as a projection surface. The projection was consequently distorted and overlayed with drop shadows. Moreover, for the play, scenes were recorded in the maze in C-Mine, which were subsequently projected onto the scenography in the theater hall. The maze was thereby duplicated and elevated to an extra dimension.
Wim Vandekeybus / Ultima Vez