This special repertory evening will present three early works by Anne Teresa De Keersmaeker, each of which is based on a piece of classical music. The programme features a combative choreography set to the layered rhythms and harmonies of Bartók’s Quartet n°4, a group piece that defies gravity and depicts the ingenious counterpoint in Beethoven’s Die Grosse Fuge, and a shamelessly romantic duet set to Schönberg’s Verklärte Nacht. Ictus and the Brussels Philharmonic will accompany the pieces live especially for the Brussels series.

The unrelenting logic of profit and technological development have reduced human beings to disposable objects. The next step is making our environment completely uninhabitable. The new production by Kris Verdonk explores our physical and psychological state of being in light of an imminent extinction. The dancers are often not more than shadows in a landscape of blow-up sculptures, cello-noise, and a robotic drum.

Claire Croizé engages with two of her favourite sources of inspiration: Bach and Rilke. She places both masters in the hands of Matteo Fargion, the British composer and multi-instrumentalist. They have not created slavish interpretations of Bach and Rilke, but rather opted for a playful, somewhat unruly tribute.

Which movements or fragments of movements does a dancer remember after years of training and performance experience? In the first part of this solo for dancer Bahar Temiz, Vanrunxt explores the power and the possible significance of movement through memory. In the second part, Bahar fights a decelerated ‘disco-drone’: a scene in one flash of light that does not stop.

French choreographer and philosopher Noé Soulier is convinced that watching dance is just as creative as dancing itself. In this latest creation, he presents six dancers and two percussionists. The drum sounds add commas and full stops, punctuating or pausing a series of movements, or initiate new actions. Soulier explores the intersection of extremely precise dance writing and pure improvisation! 

The vocal ensemble HYOID and artist-in-residence at Kaaitheater Benjamin Vandewalle are adapting Indianerlieder (1972) by Karlheinz Stockhausen, an iconic but rarely performed work. They are creating a gesamtkunstwerk that aims to reveal the vitality and timelessness of Stockhausen’s music. They are abandoning the original scenography in order to place the audience at the very centre of the three-dimensional ritual.