July 1968. The legendary Paradise Now by The Living Theatre premieres at the Festival d’Avignon. The actors attempted to unleash a revolution by getting the audience into a state of readiness. Half a century later, Michiel Vandevelde is exploring the vestiges of the legacy of May ’68. Will new future perspectives open up when thirteen young people survey a half century of history in a wild choreography of iconic images?

Over the years, Christodoulos Panayiotou has compiled an archive on the ways in which fiction can escape mortality and finitude. From Dalida's most tragic songs to Michael Jackson’s urge to perform one last time. He presents this archive in Dying on Stage. He combines the precision of a lecture with the indeterminacy of night-time internet surfing.

Just like Fellini made Roma – an ode to his city – Jan Fabre is celebrating his own complex, crazy country. He is doing so in the most appropriate language to capture the spirit of this slippery state: the language of the theatre and of images. With an international cast of performers and musicians, he goes in search of Belgian identity. Raymond van het Groenewoud has written a series of anthems, while author Johan de Boose wrote the text.

Trials of Money turns the theatre into a court of justice which does not yet exist. You’re invited to take part in the Special Tribunal for Semi-Human Persons in order to undertake the trial of the thing called ‘money’. The trial is conducted as a collective exercise: while the performers deliver their testimonies, they will respond to any question the audience has. Should money be found guilty, it leaves us with a very problematic question: what could be a just sentence?

In a stimulating theatrical game, you as the audience explore the limits of the imaginable, beyond what is true, good, or politically correct. Can the most cheerful, strange, improbable, and wild fantasies influence the world that we share together? The stakes in the game? To make time and space for our own imagination.

La Piscine is a collective project that gathers different artistic practices and works addressed to a single spectator. Going from a walk with the eyes closed, to a conversation, to a bath, a single spectator and one of the artists will tune to each other to draw a singular path into Les Bains du Centre – at the heart of the Marolles.

Like an engineer at a control panel, Benjamin Verdonck conjures a visual elegy on the stage. From a sequence of miniature landscapes to an endless series of panels that appear and disappear, open and close. Accompanied by two musicians, Verdonck gradually gets lost in his own images.

What does Palestine mean to the extensive Palestinian diaspora of refugees and self-imposed exiles? Along with five actors, Bashar Murkus suggests a form that connects all these stories in a new kind of Palestinian identity: one that is not tied to a particular territory.