Herberg (2015) was a 50-minu­te site-spe­ci­fic per­for­man­ce that could be per­for­med short­ly befo­re to short­ly after sun­set and took pla­ce ten to two hund­red meters away from the audien­ce. The cre­a­ti­on of the per­for­man­ce took pla­ce under an E17 via­duct in Ledeberg.

When impro­vi­sing and rehear­sing on site, it soon beca­me clear that the gigan­tic struc­tu­re of the brid­ge was crus­hing the figu­re of a human being trying to express some­thing. Faces dis­ap­pe­a­red com­ple­te­ly into the dis­tan­ce, voi­ces were drow­ned out by car traf­fic, move­ments quick­ly came across as unar­ti­cu­la­ted noi­se. The ​“unfriend­ly” rela­ti­ons­hip of the sce­no­grap­hy to the per­for­mer beca­me the engi­ne to devel­op a spe­ci­fic poe­tics and performance.

Simple acts as appe­a­ring and dis­ap­pe­a­ring from behind the pil­lars pro­ved to be the stron­gest signs a body could give in that pla­ce, as did wal­king or run­ning hori­zon­tal lines. If any com­mu­ni­ca­ti­on appe­a­red pos­si­ble, it was pri­ma­ri­ly rhythmic and musi­cal. The first half of the per­for­man­ce con­sisted of a com­po­si­ti­on of pas­sing bet­ween pil­lars.
In the second half of the per­for­man­ce, the sun having almost set, the loca­ti­on chan­ged more into a kind of in-bet­ween zone, whe­re ​“other rules” see­med to apply. The sharp lines and con­tours of the archi­tec­tu­re faded, the bodies of the per­for­mers see­med to take on stran­ge, dif­fe­rent pro­por­ti­ons. In this part of the per­for­man­ce, a car was also intro­du­ced as the sixth performer.

Herberg was the mas­ter pro­ject KASK Drama of Kobe Chielens and Bosse Provoost. At the invita­ti­on of Toneelhuis, the per­for­man­ce was trans­po­sed in 2016 to an extra lar­ge loca­ti­on: the Merksem via­duct, which runs alongsi­de the Sportpaleis.