For this adaption of Bertrand Tavernier’s film Coup de Torchon (1981), Guy Cassiers is collaborating with the theatre collective LAZARUS – a confrontation between scenographic precision and rowdy playfulness. The creators are serving an uncomfortable fable about the moral bankruptcy of a society that looks very much like our own. It is a universe full of grotesque characters that teeter on the edge of the abyss.

Eleanor Bauer loves playing with the codes and concepts of contemporary dance. In New Joy, she confronts the post-truth age: this dataistic cyber-musical knocks straight through the boundaries of various registers. From body language and spoken language to computer language and back again, from emotional to artificial intelligence, from movement to sound. Along with composer Chris Peck, Bauer engages all of your senses in her search for meaning and hidden implications.

In her new creation, Mette Edvardsen explores interfaces with opera, flanked by composer and performer Matteo Fargion. Together, they deconstruct the mythological figure of Penelope, the woman who spent years waiting for her husband Odysseus. But her apparent passivity conceals tremendous power. Be whisked away to this intimate, minimalist dream world, where new relationships are forged between women, the world, and the other.

How can we say something about the future through the lens of the past? Michiel Vandevelde examines the recent history of western modern and contemporary dance, from Isadora Duncan to Anna Halprin. In five speculative acts about the past from the future, the present is inevitably reflected upon. This way, choreography becomes a form of science-fiction.

Now that bodies are occupying more and more museums, choreographer and philosopher Noé Soulier is presenting an opposite movement: what if instead of bodies, the artworks themselves adapted to a new space? Performing Art presents twenty pieces from the collection of the Centre Pompidou. You do not see them as you walk through a museum, but from your seat in the theatre.

Laure Prouvost’s first work for the theatre stage is rooted in her film Dit Learn, in which a quick succession of everyday objects, images and texts encourages you to imbue everything with new meaning. You can expect an ‘expanded cinema experience’ in which recorded and live images duplicate the actions in the theatre – dance, music, sound, projection.