Where the World Is Going, That's Where We Are Going
  • By Kyung Oh
  • |
  • 8th Aug 2014
  • |
  • ★★★★★

A man and a woman have come together to tell us about Diderot’s novel, Jacques the Fatalist and his Master. They open the show by saying there is a problem, but never tell us exactly what the problem is. “We are running out of time”, they say. We never have time, not enough time to just sit around and tell each other stories, no time to drift away with words without a purpose, simply for the joy of drifting. Unlike in centuries past, we always grasp for something solid and tangible to latch onto.

The play has a supremely innovative structure, comprising only of dialogue that refuses to move forward, in which nothing happens, and everything happens.

The show is centred around the power of words, the perils of words, the disorientation of words. The two players are having a dialogue, but constantly “umm” and “ah” and pause and redact what they’ve just said to try to clarify what they mean. The man is a somewhat pedantic character, correcting the woman, for example, when she says Jacques and his master sit on horses for the entire novel. “Well, not all the time”, he says, while she retorts that it was just a figure of speech. But is it ever clear in language what is literal, what is figurative, what the subtexts and connotations are? Language is always slipping away.

Even the relationship between the two players is open to interpretation. “Well, I am a he, and you are a she, and that opens the imagination”, the man says. Yet there are only the obliquest suggestions that they might be a romantic couple. “We’ve just met”, he protests, and she answers, “but we are here, talking to each other for all this time”.

The script celebrates the power of words and a wish to escape from them. The man says he has experienced his mother’s death three times: first with her literal death, then a second time with an inability to remember her, then a third time when he looked at the medical reports, full of numbers and statistics that he couldn’t make sense of. Yet it is by recounting her last words to himself that he was able to remember her again.

Showing traces of post-structuralist thought, this new play written by Ans and Louise Van den Eede explores some key ideas of 20th century philosophy about language. The two players, Jeroen Van der Ven and Ans Van den Eede brilliantly play the the parts of two people who are tentative, earnest, frustrated, and keen on wading their way through this talk about Diderot’s novel.

I hesitated before giving the show five stars. The truth is that it is slow-paced, at times noticeably so, and it requires some degree of patience from the audience. But this slow pace is an essential part of what the show is trying to achieve. Words are frustrating. Words cannot ‘mean’ by themselves: we must make them mean something, often with great peril. The play, then, forces the audience members to grasp at their own threads, piecing together thoughts and words in what way pleases them. The play has a supremely innovative structure, comprising only of dialogue that refuses to move forward, in which nothing happens, and everything happens.

Reviews by Kyung Oh

Underbelly, Cowgate

Before Us

Traverse Theatre

Men in the Cities

Pleasance Courtyard

Years to the Day

theSpace on Niddry St

Can't Stay Away!


Snoutology for Beginners

C venues - C

The Road to Skibbereen




The Blurb

'We’d love to tell you about Jacques the fatalist and his Master, by Denis Diderot, one of the best books ever written, but we’re having problems'. Where the world is going, that’s where we are going is the first, award-winning show by theatre company Hof van Eede. Sisters Louise Van den Eede and Ans Van den Eede took Diderot’s novel as a starting point, and ended up embracing the vulnerability of language in a deliciously whimsical conversation between a man and a woman, 'who need to go somewhere else, urgently'.