Aneckxander
Not Standing vzw / Alexander Vantournhout

A stage. Alexander/Aneckxander wanders, repeating the absurd rules of his self-imposed loneliness. Acrobatics are executed naked and physical disproportions are being revealed. Engaging in seemingly purposeless actions with seemingly random objects, a tragic human being comes to life.

Alexander/Aneckxander is a tragic character. As in tragedies he derives his existence from the attempt to reach an unattainable goal. But each attempt is doomed to failure. Thus Alexander/Aneckxander appears primarily as a lonely individual in his attempt to connect with the audience.
The objects on stage are only used to correct/camouflage the vulnerabilities and disproportions of Alexander/Aneckxander’s body. Accordingly he uses the platform shoes (Buffalo shoes) in order to compensate his short legs or boxing gloves to protect his wrists. However, as it often comes with disguise, these ‘prostheses’ more often emphasize the vulnerability of his body instead of compensating them.

The movements of Alexander/Aneckxander are not an expression of his psychology or emotions. His choreography is rather the result of a series of “solitary acts”. So there is no psychological approach to the character. Alexander/Aneckxander comes alive through the actions and the movements of his body. This means that the identity of the character is first of all grounded in the body that is in front of the audience. And it is the same body that separates us from the Other. This Other shapes our identity through its gaze which reduces the artist to its physical characteristics. What appears is a tragic autobiography of the body that focusses on situations of vulnerability and loneliness such as pain and obsession (emotions which the Other does not need), and situations of relational loneliness (e.g. shame).