A man commits a terrorist attack in a museum of contemporary art, killing 49 children and a teacher. He waits on death row for seven years. A week before his execution, he convinces the police detective who was in charge of his case to join him for his last meal. What meaning do these two men hope to find in the death that they both desire, each in their own way?
All the Good is a story with a double autobiographical background: on the one hand, the life of Israeli elite soldier and war veteran Elik Niv, and on the other, Jan Lauwers’ life with Grace Ellen Barkey and their children – in a house and workspace in Molenbeek. It is a love story in an age in which Europe is throwing its values to the wind and a growing group of people is being seduced by hate and intolerance.
A stone’s throw from the Kaaistudios, there is a row of dilapidated and unhealthy social housing blocks that will soon be demolished: these are the five blocks of the Rempart des Moines. The current residents have to make way for more affluent buyers. The Brussels Brecht-Eisler Choir is presenting a musical theatre piece that attempts to capture and evoke their confusion and uncertainty.
An expedition to the source of the Styx has taken Karen Røise Kielland and Katja Dreyer to the heart of Greek mythology. They breathe new life into an old myth through numerous encounters with local residents and their stories about the river. The performance begins with multiplicity and chaos, but the closer to the source, the more order and monochrome silence begin to surface.
This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; an academic lecture about memory, neurology, machines and consciousness; a video installation with an immersive (post-)apocalyptic landscape; and a concert. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.
In their search for Arabic literature, tg STAN sought and found allies at the Nomadic Arts Centre Moussem, and among the theatremakers of Kloppend Hert, the company led by Haider Al Timimi. Eight performers go in search of answers to questions that are essential to them, in a cross-border space where multiple influences can blend into one whole. But it begins at the beginning: an open forum and conversation.
A young woman in a city that has been occupied for decades. On the day of her father’s funeral, she discovers his architectural drawings. Broken Shapes is a hybrid theatrical experience between installation, video and performance that explores how physical surroundings affect us mentally. Onstage we see one actress, her words are supported and interrupted by the visual interventions around her.
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 this adaptation of Moby Dick, Gorges Ocloo called on Ben Okri, who adapted the novel into a magic-realist story about the gulf between high and low, rich and poor. Josse De Pauw and the renowned American mezzo-soprano Raehann Bryce-Davis take to the stage. Together, they perform an energized and jazzy opera about the need for rapprochement in an increasingly polarized society.
‘Money rules the world,’ it is sometimes said. Is money responsible for what has happened in the world under its governance? Can we call it to account for the horrifying situations in which many people find themselves today? Christophe Meierhans invites you to join him in an exploration of what money is and does. Last season, he premiered Trials of Money. He is now presenting a revised solo version.
Landscape Orchestra seeks a musical answer to the question of how we can depict departure, travel, and arrival. The production visits the landscapes that we traverse on our way to different and better places. A series of portraits shows people for whom the world is difficult but not necessarily less poetic.
An apparently endless chain of murders and blood feuds: this is the plot of the Oresteia. In Orestes in Mosul, Milo Rau combines the tragedy of tragedies with contemporary political conflicts. How will the chain of violence between the parties in the Syrian-Iraqi civil war and their international allies ever come to an end? With an ensemble of Iraqi and European actors, Rau presents an Oresteia for our time.
For a year, Decoratelier Jozef Wouters worked with Open Arts House Globe Aroma on Underneath Which Rivers Flow. A group of women and men – builders, poets and dreamers – met weekly in the Decoratelier in Molenbeek. Together, they built stories, a secret garden full of wormholes to unsuspected worlds.
In CRY, TROJANS! (Troilus & Cressida), The Wooster Group takes a decidedly American approach to the Trojan side of Shakespeare’s dark and scabrous Trojan War play. A vexing tale of sincere love corrupted and the downfall of a noble hero.
How many lies, chance encounters and mishaps have actually determined history as we know it? In his new creation, Jan Lauwers travels through history by way of the family trees of all Needcompany’s members. The Blind Poet is about strong women who throw stones and end up on the stake. About a crusader whose suit of armour is too small.
It is war. Always war. It's war in the cells. This intimate war is everywhere. At micro and macro levels, and without limitation in time or space. If we are surrounded by an incessant battlefield, of which war is the theatre the setting? Tristero and Transquinquennal are expecting you. With an open mind!
Theatre-maker and writer Pieter De Buysser and the Estonian artist Maike Lond are creating a performance inspired by the life of Clara Immerwahr. The wife of Fritz Haber, father of chemical warfare. Clara Immerwahr, a brilliant chemist herself, tried to resist her husband's cocktails of war and science.
In Into the Big World we experience a world where everything is observed, named, categorised and therefore domesticated. Gradually however knowledge becomes more complex as the world presents itself as a a system where everything is connected to everything. Can we still capture the world in a single encyclopaedic overview?
In Sounds like War: Kriegserklärung, the Berlin-based performance group andcompany&Co. looks for the relationship between performance art and the art of warfare, creating a sound of battle with space for many voices – maybe an alternative to the so-called ‘concert of European powers’. Davis Freeman closes the evening with a devious performance on violence: What You Need To Know.
Needlapb is a unique opportunity to take a look at the working process and be offered an insight into future Needcompany projects. In this edition, Needcompany shows the initial steps towards two productions for 2015: The Time Between Two Mistakes and The Blind Poet.
The theatre-maker Pieter De Buysser is increasingly emerging as a teller of mythical stories which for an instant turn our view of things upside down. What might he have to tell us about the myth of Progress, now that it is being overshadowed by ecological disasters and increasing social inequality?
In Drugs kept me alive Jan Fabre describes a mortal, a life that is teetering on the edge of death. The closer to death, the more pills, sachets and drinks are needed to undershore this life. The monologue was written for born performer Tony Rizzi.
Jan Decorte is creating his second piece of dance theatre. A meeting of four people, an extraordinary love story. No rigid grammar of dance, but the anarchy of movement, the faltering beauty of failure.