Joining the American-British invasion of Iraq in 2003 was Japan’s first military engagement since WWII. Historic peace marches took place in Tokyo, and many of the protesters were young people. In Five Days in March, a number of characters voice their deeply personal concerns. The image they sketch of their personal, everyday lives in Tokyo stands in sharp contrast to their public participation in the demonstrations. In this adaptation of his original 2007 creation, Toshiki Okada sketches a generation of young people who have lost their way.

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?

Step into a playful and probing social laboratory. STRANGER is a life-sized board game that explores first impressions. Can you share with others the thoughts you have when you see an unknown face?

Gallop. Biography of a Body tells the bizarre story of the life cycle of a body. Dolores Bouckaert’s co-star in this solo is – via film and audio – a fast and powerful horse. The two are one another’s opposites until they become interchangeable, when the horse’s gallop coincides with the rhythm of her heartbeat.

What is happiness? In what dark and remote corners do we have to crawl individually and collectively to find it? Together with dancers from the EnKnapGroup, Pavol Liska and Kelly Copper have created a bizarre, painful and hilarious horror comedy about voracious expansion in the Wild West and all the violence that ensued as a result.

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.

De KOE has unfinished business with the in-between. They perform a selection of arrival and departure scenes from Russian and Western literature, and supplement them with their own texts. Eight actors perform 35 characters who enter and leave in a symbiosis of welcoming and parting ceremonies. Because nobody stays.