Vera Tussing invites the string quartet Quatuor MP4 to join four dancers onstage for a playful encounter between movement and sound. At the point where the orbits of dance and music intersect, you are invited to enter the kaleidoscopic score. Lend a hand, or an arm!
Three performers spend three quarters of an hour turning around their own axis – a movement that in Sufi ceremonies is thought to lead to religious euphoria. In Miet Warlop’s version, it becomes an experiment on the fine line between maintaining and losing control. It is a combination of swirling dance, recital and concert. How can you find a balance between self-control and devotion?
While silence can be intimidating and evoke a sacral atmosphere, breathing fosters connection. In the immersive concert Pneuma, Ictus has radically opted for breath. An accordion becomes a lung, the flute a larynx. The result is a subtle soundscape that unfurls across the space, and you can decide on the distance from which you want to experience this (breath)taking event.
Symphony of Expectation combines two iconic, 20th-century compositions: Sinfonia by Luciano Berio and Erwartung by Arnold Schönberg. One second of the maximal spiritual excitement of a female main character explodes into an intense theatrical experience.
The title The Goldberg Variations not only evokes the famous music of Bach, but also the iconic dance solo by Steve Paxton. Along with a dancer, a ballet dancer, and an accordionist, Michiel Vandevelde works with this material. Three bodies, each with very different potentialities, delve into dance history and question the potential of dance today.
In the first part of Suite n° 4, recognizable and anonymous voices overlap as though they were coming from different acoustic spaces. In the second part, the voices are accompanied by eight musicians from Ictus. The Encyclopédie de la parole collective presents a performance about absence, like an opera without singers or a theatre without actors. For 150 minutes, you hear a thousand concrete situations in more than 30 languages.
Can light be a compositional building block? The Liquid Room Series radically questions the classical concert model. The audience is free to move around among the various stages set up in the dismantled hall of the Kaaitheater. Immerse yourself in a pure experience of sound and light!
What would hell look like today? The 500th anniversary of the death of Hieronymus Bosch, made Vasco Mendonça, Kris Verdonck and Dimitri Verhulst think. They quickly arrived at the beaches of Lampedusa: a place where while tourists were sunbathing refugees were washed up on the beach. The false paradise of the resorts and the Boschian hell on earth seamlessly flow into each other.
Marc Vanrunxt creates a dance performance based on the work of the solitary Lucien Goethals, pioneer of Flemish electronic music. The result acts as a journey through time, towards what in the 1970s was still the music of the future, and which quite possibly still sounds like that now.
This brand new production directed by Ivo Van Hove is based on Leoš Janácek’s song cycle that goes by the same name. The result of Janácek’s inspired efforts is a mysterious, deeply emotional and psychological piece on identity, alienation, and an impossible love. Annelies Van Parys – one of the most acclaimed Belgian composers of our time – adds a fi tting contemporary reply.
Dancer and choreographer Fumiyo Ikeda takes you on a journey to the heart of Morton Feldman’s Piano and String Quartet. This 80-minute composition for piano and strings exudes an aura of tranquillity, in which ‘each is just as much an echo of the other’. Ikeda shares the stage with the soloists of Ictus, as though she herself were the sixth musician.
Inspired by the hymn Say No!, more than 30 choirs and ensembles from across the world have created their own song about conscientious objection and desertion. All the contributed images and sounds form the material for a video creation, intertwined with a live performance by a huge international choir.
Stef Kamil Carlens was inspired by folk art, rituals, beautiful creatures from European folklore traditions, and early twentiethcentury modern art. Enter into this wonderful world of dance, music, word, costumes, and masks!
Three singers/performers create a succession of intriguing tableaux vivants. Ivo Dimchev’s stream of consciousness simultaneously appears on the rear wall. He harnesses the power of the voice, extreme theatricality and a whole arsenal of temperament, and goes in search of what opera is and can be.
For his Concertos, the born performer Ivo Dimchev always invites a different musician for a voice improvisation in the form of a concert. At the Kaaitheater, he performs alongside the composer and pianist Lea Petra, who has been highly praised for her tango transcriptions for piano.
Meyoucycle is about you and me and everything in between. Indeed, a me-you-cycle. Bauer presents a science fiction concert about completely normal emotions in this age of hyper-capitalism and technological progress.
Thierry De Mey has been exploring the grey area between dance and music for more than 30 years. He has composed music for dance performances, directed films about dance, and constructed choreographic multimedia installations. In 2016, for the first time, he has created a dance performance for the big stage, in collaboration with Ensemble intercontemporain, the legendary Paris music ensemble founded by Pierre Boulez.
In the midst of a brutal act of revenge, a boy and a girl exchange looks. Unwittingly, and without saying a word, their lives become inextricably linked. Inne Goris has adapted Alessandro Baricco's novel about the impact of war and the shared destiny of perpetrator and victim. This universal tale of revenge and grief explicitly poses the question: is reconciliation possible?
Pierre Audi locates Bach's St. John Passion in an austere set inspired by Wim Delvoye's images. The passion questions the opposing claims on the truth found in religions and the conflicts it causes. Iconoclast Delvoye looks right through these truths with X-ray eyes, reducing them to a meagre pile of mouse bones.
Eric Sleichim takes a closer look at Russian Futurism. His partners in crime are the versatile singer Claron McFadden, cellist Jörg Brinkmann and turntable wizard Matthew Wright. Russian Futurism disconnects language from substantive meaning, accompanied by merry song, recitation and shouting. Experience a concert like an unstoppable factory happening!
...the missing link between Fausto Romitelli and Laurie Anderson
Ictus is presenting a full-length piece by the Austrian composer Eva Reiter. She based it on the unconventional sonnets of the American Ben Lerner, which offer you weird associative ideas, banal observations and ironic comments along the way. The world Reiter has created with them quite simply demands a new sort of virtuosity from the musicians.
Sophocles’ Antigone was the personification of resistance. For the first time in theatre history, a character breaks away from the group to claim a solo role opposite the orchestra. On this occasion it is Cecilia Lisa Eliceche who is taking the role. Full of confidence, she faces four musicians of Zwerm armed with electric guitars.
Choreographer Laurent Chétouane tackles an iconic work: Bach’s St John Passion. He is not interested in a perfect execution of the music and doesn’t allow his dancers to ‘portray’ the Passion. Will Bach still move you without the security of a set choreography, trained singers and only seven instruments? What happens when Bach’s music is desecrated?