Guided by headphones and holding a flashlight to illuminate the darkness of a big, empty and dormant theatre, you're cast as an 'extra' in what appears to be a dream-like rehearsal of powerlessness.

With Dance # 2 Christine De Smedt and Eszter Salamon continue to build on Dance # 1 / Driftworks. The first part – listening & mouthing – was inspired by Inuit throat-singing duets. In part two – words & gestures – a dialogue develops in which syllables and words become attached to movements. What does a choreography look like when it resembles a ping-pong game of question and answer?

As an annual rendezvous for those working on a sustainable future, this latest Ecopolis starts out from the question ‘what can we do about the current ecological challenge, and by what means?’

This is a woman who, on payment, you briefly possess, but rarely to love her. She wants to save her daughter from the solitude into which her own fate has plunged her. She sees the hope of a new life disintegrate at the start of the Arab Spring.

Technological developments lead to a potential new era, that of Technological Singularity. Sandy Williams creates a performance about the tension between our raw, flawed and incomplete human nature and the immaculate potential of a digitised future.

Imminent climatological, political and ideological tipping points raise the question: are we literally ‘falling out of history’? Philosopher/activist Lieven De Cauter talks with philosopher Isabelle Stengers.

Gisèle Vienne stages a reconstruction of the largest annual gathering of ventriloquists in Kentucky. A polyphony of 30 voices — both the dummies and their ventriloquists — draws you into a tangle of complex psychologies.

Harold Pinters’ Betrayal (1978) ingeneously portrays a love triangle on stage. Passion and mediocrity, lies and desires, deception and self-deception wage battle with one another. The story unfolds in reverse chronological order, so you know ‘how it ends’. Lawrence Malstaf provides the impressive scenography with nine rotating walls through which you move freely on stage.

This – unexpectedly current – rerun from 2008 shows Paris from the perspective of the artist-immigrant. During the 20th century countless people took refuge in the French capital, including many artists and intellectuals. Just as likely, they ended up working as taxi drivers or street cleaners. Christian Bakalov’s depictions of their social exclusion and humiliation urge you to question your own feelings of empathy and solidarity.

‘Food for the mind’, that is The Discreet Charm of Marxism. You will be served Marxist writings on the class struggle and revolution as a full six-course meal. In this conversation piece you eat, read and discuss with the other guests! Bring a hunger for ideas and good food.

What happens when a voice creates space and this space is filled with movement? ‘S approaches performance as a love relation. Between you, the performer and his materials.