Midnight Special Agency


2-24/05 > 0:00
Duration: 5’

It is five minutes before midnight on the international channel of the KunstenFESTIVALdesArts that serves both the French and Dutch-speaking communities. Headquarters: CentreduFESTIVALcentrum at La Bellone. Jingle. Midnight. News flash. "Willkommen, bienvenue, welcome..."

Every day in May, three 'special correspondents' from Berlin and Frankfurt will be commenting on what's been happening at the Festival, as well as taking a look at the city hosting it, through images from the day, who's there and what's been lost and found. These artists are high-quality manipulators of existing realities. Alert and critical, the three performers are creating a Midnight Special Agency for Brussels. Very special indeed...


Helgard Haug, Stefan Kaegi, Daniel Wetzel /


each night another first time performer

Production & Présentation/Presentatie/Presentation:


Supported by:

Goethe Institut Brüssel

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Every evening, for a period of five minutes, we will be taking stock. As if TV were real life. In each three-dimensional news programme, someone from Brussels who we came across during the day will get a chance to speak – 25 times.

Whether a manager, kebab seller, civil servant from the registry office, shoe model, biochemistry student, anyone can be a newsreader. They are selected on the basis of our own interest in them, the job they do in the city, their particular view on what we’re doing, their experiences and predictions, their strategy for making the city their own.
News from home and abroad, business, culture, sports, the weather. Sticking to the rules of the game – through a whole list of questions – the daily protagonist will give his or her view on things, headlining his or her own particular area.

Catastrophes, events and scandals occur that are not adapted for camera. On the other hand, theatre can give the news in an immediate way, something the small screen cannot.

The 25 mini dramas will describe a city of many voices. They could just as well be about linguistic boundaries and divides in districts as about the arrival of the eurocrats and burgeoning of multicultural oases. Yet this commentary on city life will be making some forays into fiction. Which roles would the front-man or woman like to play in the city? What is their own burning issue? Their next summit meeting?

To be kings and queens just for one day

Field research forms both formula and method for all projects by HAUG / KAEGI / WETZEL:

If Disneyland is there to make the rest of the world seem more real, then the real world is there to be put on stage – this is (according to Jean Baudrillard) how the credo of Rimini Protokoll could be described. Rimini Protokoll is the cover name for three or four urban guerrilleros who want to change the world, at least for a while and preferably in secret. They smuggle art, not bombs, into reality and observe the audience observing the explosion. It succeeds if you can no longer see the fine line between the real and the manipulated.

(Renate Klett, Die Zeit).

Haug / Kaegi / Wetzel don’t work with professional actors, but ‘ready-made’ ones. This is part of the concept. They describe their actors as specialists. They put ordinary people into a space on stage. The result is a game permanently bordering reality and fiction, document and story. What is depicted on stage can become authentic and vice versa.

(Journal Frankfurt)

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