Pour cette adaptation du film Coup de Torchon (1981) de Bertrand Tavernier, Guy Cassiers s’allie au collectif de théâtre LAZARUS – attendez-vous alors à une confrontation entre précision scénographique et ludisme brutal. Les créateurs du spectacle nous présentent une fable inconfortable sur la faillite morale d’une société qui ressemble étrangement fort à la nôtre. Un univers de personnages grotesques au bord du précipice.

Six actors on the stage and only one solo. There are no leading or secondary roles, but six simultaneous interpretations of the same script. How strictly will each actor comply with the stage directions? Will they allow one another a place in the spotlight? The Script focuses on acting, ánd on the existential loneliness that you sometimes feel in a group.

In MEMENTO MORI!, documentary filmmaker and visual artist Els Dietvorst brings two solos together. The first is performed by Dirk Roofthooft, one of Flanders’ most iconic actors, the second is performed by the Brussels-based actress Aurelie Di Marino. You can expect a theatre evening about fragility and transience, but also about universal themes like individualization, globalization, the relationship between humanity and nature, and migration.

As the world stands on the verge of collapse, a man and a woman exchange a razor-sharp dialogue based on a caustic text by Heiner Müller. Frank Vercruyssen from tg STAN and Cynthia Loemij from Rosas share the stage and explore the essence of the relationship between words and movement. Again at Kaaitheater after 20 years!

Rokia Traoré is an icon of African music. She narrates the epic of King Soundiata Keita, the King who based his power on respect and not on greed or violence, and the unifier of the great 13th-century Mandé Empire. Traoré blends classic songs by the Mandé griots into her narrative. These poets and singers were responsible for a unique form of oral history.

Julian Hetzel questions the aestheticization of violence and the explosive power of images of war. Based on the principle of ‘creation through destruction’, he imported several kilos of war rubble from Syria. In Europe, he transformed this debris into art. In All Inclusive, he juxtaposes art and war, tourists and refugees, and connects reality with imagination.

Milo Rau and his team travel to the political hotspots of the age: the Mediterranean refugee routes from the Middle East and the areas affected by the Congolese Civil War. In this semi-documentary double monologue, Els Dottermans and the young French actress Olga Mouak intentionally occupy contradictory terrain. How can we bear the misery of others and why do we look at it?