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Theatres should be the new town squares, not monasteries” – Lynn Gardner, The Guardian

The NNT is building a new interdisciplinary theater house. Within that house we work from the conviction that the complexity of the world for the 21st century visitor can no longer be described in a single language or
art discipline. There is too much in movement for that. Whether it concerns identity, art disciplines, taste, boundaries, hierarchical relationships, or the relationship between politics and citizens: no framework is more difficult. For the public, especially the younger ones, music and theater, games and film, performance and poetry merge, because those hybrid forms are better able to interpret the current multi-layered world. Today’s audience thinks less and less in traditional disciplines. Theater can not exist in a social vacuum. It must be something with all the changes around it. In fact, it has to open the doors wide to let these developments in, actively make new connections and discuss the social changes in content with the public.


Since January 2017 Guy Weizman took over the position of artistic director of the Noord Nederlands Toneel from Ola Mafaalani. Club Guy & Roni also joined Weizman, and together we work in the machine factory in Groningen.


The Culture Council and the Ter Horst Committee also point to this. Theater can be more sexy, urgent, more up-to-date. As a large theater company, the NNT will therefore make productions that are relevant to a broad, contemporary audience. About people trying to find a hold and structure in a chaotic world. Exciting performances that create new connections between art disciplines, between art and the world, between makers and the public and between the public. In Groningen and the theaters where we play, we create places where the public feel at home and can be part of it, even though they are just as often rattled up as comforted.


By allowing actors, dancers, musicians, directors and other artists to share the workplace with each other, they can also learn from each other: from each other’s artistic sources, dramaturgy, stories and methods. The disciplines
ask questions to each other that are never asked so concretely in the more specific discipline: ‘Why do you do that?’ This means that the various disciplines have to step out of their comfort zone in order to discover new ways that they would otherwise not have found. With a contemporary innovative theater language as a result.


As far as we are concerned, this new movement can only have Groningen as its base. The splendid isolation
of the North, the cultural partners present there and a curious, international audience form one
inspiring basis for the ambitions of the coming years. Here we work together with partners and audiences to make Groningen the national leader and pioneer of the interdisciplinary performing arts.

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