The first talk shows aired in the 1950s and they have determined the evening rhythm in many living rooms ever since. But the invention of the internet has definitively pushed the format into decline. In TALK SHOW, Suze Milius bids them farewell. It is both a retrospective and a look ahead into the future, an attempt to ascribe value to everything that gradually disappears, and an ode to the details of our existence.

On a bare stage under bright light, six hapless clowns do their best to get along and pass the time. They fight and chase in eruptions of uneasy mayhem, then cool off a little, settle and wait for the whole thing to kick off again. Carefully unbalanced between funny and not funny, Out Of Order is the ruins of a show in the ruins of a world.

Achterland (1990) is a seminal choreography in Anne Teresa De Keersmaeker’s oeuvre. The minimalism and prevalent femininity of Rosas’ early pieces gave way to an ambiguous no-man’s-land in which boundaries and symbols were blurred. Last season, the reprise of Achterland starring a new generation of Rosas dancers made a tremendous impression: don’t miss this opportunity to see it again.

The building blocks of Move (on) include the dialogues of the English playwright Dennis Kelly, a dull growling that expresses the sense of uneasiness in our society. Voices will rise above this, such as those of the characters created by the Egyptian author Alaa El Aswani. They speak of corruption, and of the economic, social and religious straitjacket in which they are imprisoned. They blend with voices from the work of the Palestinian Mahmoud Darwish or the Syrian playwright Saadallah Wannous, bursts of wild hope but simultaneously exclamations of shared powerlessness.

FIÈVRES is the story of the small streams that coalesced to form the tempestuous torrent of the popular uprising in February 2019. Starting from the actual events of the revolution, the author Mustafa Benfodil sketches a universal portrait of resistance and the indisputable role played in it by women.

William Gaddis is one of the most influential authors in American postmodern literature. His 1975 magnum opus JR is a complex and hilarious satire on capitalism. FC Bergman has opted for an ambitious adaptation that unmasks contemporary humanity. The company is building a sky-high set in the halls of Paleis12 at the Heizel, around which an extensive ensemble of actors will reconstruct the kaleidoscopic world of JR.

For centuries, dancers have been counting their steps to 4, 6 or 8. But what if dancers were to count to infinity? Boris Charmatz: ‘I have always hated counting while dancing. In this piece, we count, speak and sing not only so that we can dance, but first and foremost, so that our minds can wander even more.’ In a world that is being increasingly enslaved by algorithms, Charmatz offers a moment of infinity.

People with physical disabilities are often more associated with stationariness than with movement. In Every Body Electric, Doris Uhlich refutes this idea with vitality and vibrancy. You can expect a fascinating dialogue between the human and the mechanical in which very personal dance styles vary from explosive to gently poetic.