Schwalbe Speelt Op Eigen Kracht is a CO2-neutral production. All the energy needed for the performance is generated by the performers themselves. Schwalbe stands up to darkness, cold and cynicism with perseverance and boundless energy. And they have to cycle to appear in the spotlight.
Nine performers give it everything they’ve got to the accompaniment of loud techno music. They dance, dance and dance. A physical and emotional marathon, a bomb of non-stop energy which you still feel in your body long after it has ended.
For You’ve changed, Thomas Hauert has asked Dick Van der Harst to compose an original music on an improvised choreographic piece caught on video. The resulting music, written for a three-headed rock band and three female singers, answers movement on stage.
How can you get out of your body? How long can you stay out of yourself …without losing it altogether? TALES OF THE BODILESS explores a condition that is hard to imagine : a world without human bodies.
After the debate Kernenergie. Maken we ons illusies? (in Dutch), the theatre-maker Davis Freeman will present the occasionally hilarious but none the less highly relevant performance Seven Promises in the Kaaicafé. Together with the actor Jerry Killick, he plays the part of a green preacher and they try to persuade the audience to make ‘sustainable’ promises.
CANCELLED! In this new work, the Canadian choreographer and dancer Benoit Lachambre tries to give us a different view of ourselves, our body and our language. On stage: a male solo dance and two female dancers/actresses in a possible symbiosis. And music by the well-known New York composer Hahn Rowe.
Four female dancers in rapport with one another and five chapters full of intense physical energy. The music by Thierry De Mey and Peter Vermeersch was created simultaneously and in interaction with the choreography.
Fase consists of three duets and one solo dance, choreographed to four repetitive compositions by the American minimalist musician, Steve Reich. Anne Teresa De Keersmaeker’s most frequently performed work.
In Pichet Klunchun and myself, the French choreographer Jérôme Bel simply has a conversation with the Thai dancer Pichet Klunchun, about their work, the world and life. Occasionally they dance. ‘A must-see!’ (The New York Times)
There is no sign of God, but here and there we see dolls. Each of us is a character in someone else’s subjective reality. This is the thread running through We.art. dog.com. The performance is about nature and culture, death and life. Anyone who has ever seen Dimchev at work will know these are not just empty words.
Orson Welles’ The Trial, based on Kafka’s novel of the same name, inspired K.62, an orchestrated performance, a musical mystery, a black comedy by the French artist Dominique Gonzalez-Foerster and the musician Ari Benjamin Meyers from Berlin.
Two figures in search of intense physical expression, from stillness and silence to speed and ecstasy. ‘Real’ emotions become formal constructions through their repetition, variation and filming. ingvartsen and fellow performer Guillem seek forms of expression on the borderline of the human and the inhuman.
The dancer and choreographer Salva Sanchis was inspired by the quantum mechanics and multiplies the dance material by a system of transformations. Sanchis’ work is frequently inspired by scientific developments.
The new production by the American Brussels based choreographer Eleanor Bauer brings dance to
the fore and lets the triangle speak for itself in a crash course
collision between antiquity and science fiction, fact and fantasy, hard
matter and soft subjects.
In Andros-Zins Browne’s latest piece, cowboys battle in a post-apocalyptic but peaceful atmosphere for a new relationship to their climatically fickle and uncontrollably proliferating environment, which the artist Stefan Demming inhabits with huge inflatable objects.
Music plays an essential role in ZOO’s work. In Accords, the dancers graft onto musical pieces as if they were instruments, the music being made ‘visible’ by a complex network of actions and reactions. Don’t miss this rerun!
A ‘Sans-titre’ is, like a ‘sans-papiers’, someone without papers and all the rights pertaining to them. With Sans-titre the choreographer Raimund Hoghe makes political (dance) theatre without words. Sans-titre is danced by the Congolese Faustin Linyekula and Hoghe himself.
Anne Teresa De Keersmaeker cooperated with the artists Ann Veronica Janssens and Michel François. Three artists who return to their sources and at the same time speak of our chaotic, transforming world. An impressive and radical performance.
Two lawyers speak in defence of ‘X’, an immigrant with no papers who is to be deported. The audience takes up the position of the judges: it is up to you to pronounce the imaginary judgement and perhaps set a precedent for future legal cases.
The Berlin collective from Antwerp creates fascinating multimedia performances. In Tagfish six people enter into a discussion on a new use for an enormous abandoned industrial site. Or do they discuss something completely different?