Russia in 1920: the artistic and social revolution are flourishing but the bewilderment is total when Stalin’s merciless trials start. The lyrics in this musical theatre show consist of a literal transcription of the final minutes in the trial of Fyodor Bukharin interwoven with extracts from the work of Daniil Harms, another victim of Stalin’s terror. William Kentridge is responsible for the animated film and the directing, and François Sarhan, whose fantastic L’Nfer was performed at the Kaaitheater earlier in the season, wrote the music.

Waste and excess seem to be fundamental to modern man’s definition of himself. Can we turn our urge to waste in a more immaterial direction? And can art, as a form of symbolic waste, play a part in this?

In Repeater, the German choreographer Martin Nachbar, once a student at PARTS and a dancer with Les Ballets C. De la B., shares the stage with his father. They explore the father-son relationship. Bo Wiget is a cellist, improviser, performer, composer and anti-nationalist. That’s what it says on his home page. And he is a father too. Massarbeit (‘made to measure’) is Wiget’s first music and dance performance.

In The Ballad of Ricky and Ronny – a pop opera, Anna Sophia Bonnema and Hans Petter Dahl continue their quest for the ideal combination of stage play and concert. The show premiered in the Kaaistudio’s, in October 2007, and was nominated for the Theaterfestival 08.

Next season we shall be presenting a new work by the choreographer Jean-Luc Ducourt and the pianist Alain Franco called Works by 3/1, a choreographic composition for one female and three male dancers, and a piano. It was only a few years ago that Ducourt developed a language of movement based on classical ballet. This provides the basis for the new work too, which he conceived for three male dancers with one female dancer as a counterpoint.

For her latest music project, Bast, Laïla Amezian took her inspiration from the mystical The Prophet by the Lebanese-American poet Gibran Khalil Gibran. The text will be performed partly in English and partly in Arabic, set to music that opts decisively for a mixture of eastern and western influences and which is permeated with world music, electro and jazz.

The pianist Alain Franco and dancer and choreographer Jean Luc Ducourt are presenting an interpretation of the Goldberg Variations. This Bach cycle is built up around a single aria, which functions as the ‘hardware’ for the whole work.

The French musicologist and author Peter Szendy uses his book Ecoute. Une histoire de nos oreilles (Minuit, 2001) as the starting point for his talk. The choreographer Xavier Le Roy will be talking about music-and-performance projects, including his new production of Le Sacre du Printemps.

Linked to Alvin Lucier’s attendance of Pasta for Tired Dancers, the theatre-maker and theorist Bojana Cvejić will be showing music and live art films from the sixties and seventies, including work by John Cage, Nam June Paik, La Monte Young, Alvin Lucier and Robert Rauschenberg.

Mårten Spångberg’s Powered by Emotion is a reconstruction of Steve Paxton’s Goldberg Variations. Bojana Cvejić shows and comments on scenes from concerts, stage plays and dance productions made on the basis of Glenn Gould’s legendary recordings of the Goldberg Variations.

The pianist Alain Franco will perform two concerts of Bach’s Das Wohltemperierte Klavier. He plays it in two versions, in an attempt to let the material dialogue with itself. The 48 preludes and fugues of the Das Wohltemperierte Klavier are like short stories of which he puts forward two edited versions.