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Nature II is a Brussels-based theatre group consisting of two people, Magrit Coulon and Bogdan Kikena. Magrit Coulon is a director, Bogdan Kikena is a dramaturge. They met while studying at INSAS and decided to continue their collaboration in the real world, whose customs they adopted in 2019, with only their paper diplomas turned into hats.

Fascinated by dust, damaged things and languages that are supposedly dead but still mumbling, they work on surveying territories that, although shared, summon their own imagination.
      Such is the case with HOME - pieces of nature in ruins, Magrit's first show, in which months of meticulous observations and recordings in a Brussels home are combined with a burlesque of diverted codes, archly non-spectacular, and the passage of time that metamorphoses the gardens into forests and the residents into kings and queens of a ruined castle.
      So it is with La Pavane, a small garden theatre made by Bogdan, where costumed figures, as if out of the wardrobe, re-enact the birth of the Western gaze, in 15th century Italy visited by Kafka.
      And so with Toutes les villes détruites se ressemblent, a show they wrote together and which launches a European Museum of Memory and Destruction (MEMED) on the road; a travelling museum in which two guardians watch over our collective memory, unless they are distractedly punching holes in it.
      This is the case with Les Robes de Chambres, in which Magrit continues the path cleared in HOME, staging a community of solitudes. How to live alone? Where do epochs go when they disappear? And why have volcanoes fallen asleep? Choreographic and musical, the show draws the landscape of a shared and perhaps infinite expectation, composed of all the nothings that make up an existence.

At the crossroads of these works, the reliefs that form the artistic landscape of the company take shape: research into the specificity of theatrical time and its writing, the investigation of the relationship we have with our memory and the way it transforms our perception of the world, the burlesque and the grotesque as tools of representation and the charge of diverting or even reversing the real that they carry within them.

Magrit Coulon

Magrit Coulon, a Franco-German director, was born in Strasbourg in 1996. She studied directing at the INSAS in Brussels, and gradually moved away from text-based theatre to stage writing, which is infused with documentary research. At the heart of her process: architecture and time. How does a space tell its story? How does time unfold?

For her final thesis, she set out a first framework for reflection on time as a staging tool. An exploration that runs through Home - pieces of nature in ruins, which won the Maeterlinck Prize for the best discovery in Belgium and was selected for the Impatience Festival in Paris in 2020.

In 2020, she co-founded the company Nature II with Bogdan Kikena and pursued an international master's degree in Comparative Dramaturgy and Performance Research between Brussels and Frankfurt.In parallel to her work as a director, she works as a dramaturge, notably at the Schauspielhaus in Graz. For the past three years, she has also been a guest lecturer at the schools of architecture in Paris-Belleville and Strasbourg, and will soon be teaching at the Summer School of Actors at the Teatro Municipal Sá de Miranda.

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Bogdan Kikena

Bogdan Kikena was born in Kiev in 1993. After studying literature and philosophy, he wrote a thesis on the crisis of representation in the 16th century. At the same time, he finished the Conservatoire National de Gennevilliers in the violin class of Noëmi Schindler.

From crisis to crisis, he returned to INSAS to follow a course in directing.  It was at the school that he met Magrit Coulon, with whom he wrote and created Kebab Piercing, a formal fantasy about the discrepancies between the body and the text. As a mutual support, he is in charge of the dramaturgy of the show HOME - Morceaux de nature en ruines, while Magrit imagines and creates the scenography of her shows. Together, they founded the company Nature II and developed Toutes les villes détruites se ressemblent, a four-handed construction that brings out a Museum of Destruction guarded by two watchmen with holes in their memory.

As a solo artist, he is preparing for an irreverent dance in the garden with La Pavane, a small reborn form that he will present at the Théâtre des Doms in 2021.


La Délégation Officielle (Héloïse Jadoul ; Silvio Palomo ; Simon Thomas)

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