Wittgenstein Incorporated is a re-construction of three lectures the Austrian philosopher Ludwig Wittgenstein gave in Cambridge before the Second World War for a select audience of colleagues and close friends. Wittgenstein paced up and down the room while philosophising out loud and in impromptu fashion – while allowing others to witness it. Rerun of the legendary Kaaitheater production made 20 years ago.

With Marzipan or Plexi Marijs Boulogne has created a production that combines the narrative character of a fairy tale with a musical (text, music, dance) and the intractability of a performance. A fairy tale about ‘hunger’: desire, (female) ecstasy, symbiosis and sexuality.

Following the success of Roman Tragedies and Angels in America, Kaaitheater is once again presenting a theatre marathon by Toneelgroep Amsterdam. The director Ivo van Hove mobi-lises the whole ensemble to tackle a light-hearted comedy of manners by the 18th-century Ital-ian playwright Carlo Goldoni. Summer Trilogy focuses on the materialist excesses and amo-rous intrigues of an upper middle-class family.

Six hard-rockers have broken down in their old Citroën and are stranded in a snow-covered landscape. The French artist and stage designer Philippe Quesne shows a slice of life, detailed and humorous. His sources of inspiration are Beckett, Maeterlinck, Goya, Dürer, and hard rock and mediaeval music too. A masterpiece!

For our younger readers, in the early eighties Maatschappij Discordia was the figurehead of a new sort of theatre that tackled the classic repertoire in a fresh and uninhibited way. It laid the ground for tg STAN, Dood Paard and many other small and independent collectives that followed them. In recent years Discordia has faded slightly into the background (and out of the subsidy lists), but now they are back with new work! So make sure you come and see it!

Julius Caesar, whose eloquence made him the voice of the oppressed, speaks to us. Julius Caesar is the second part, following Lex, of Peter Verhelst’s series of plays about absolute rulers in antiquity.

To round off an extremely successful tour, Jan Fabre’s latest stage production will be on for two nights in Brussels. Orgy of Tolerance shows the decline of the human species. Fabre grotesquely paints a portrait of the human consumer in our late-capitalist society, where everything is tolerated and everything is for sale. Jan Fabre meets Monty Python: hilariously absurd sketches expose the mechanisms of our collective delusion and undermine them with plenty of humour.

Nachtevening is the second part of Inne Goris’ diptych centred on the stage classic Medea. A pared-down, sensory performance where the words by Inne Goris and Pieter De Buysser and the music by Eavesdropper are well matched. Two people enter the arena, driven on by a live eight-member chorus that now and then forces them to stop and reflect in this emotion-filled arena.

TTTTg is a monologue for a man, played by two women, Carly Wijs from the Netherlands and Tracy Wright from Canada. Based on 21 days from the diary of a certain Trevor Wells, they give form to the world of his thoughts. Futile events make up the core of his scribbles. Welcome to his wondrous world!

Author Rudi Meulemans maps out three storylines and fills them in with facts and scientific ‘evidence’: he intertwines the unsolved murder or suicide of Hapsburg Crown Prince Rudolf and the life of Charles Darwin with the life of three narrators: a journalist, a taxonomist and an art historian. Issues from the world and science translated to theatre and fiction.

In her new choreography Do Animals Cry, Meg Stuart and her dancers explore the cultural militia called family. On stage, we see a number of characters in slippers and pyjamas: a family – is it a family? – that calmly becomes disagreeable. They muddle about in various poses: father, mother or child. No one needs a fixed role: without being asked, each of them glides in and out of family portraits.
'The humour of Do Animals Cry is so refined it would soothe anyone's pain. It is Stuart's most intimate and emotional piece so far. ... A razor-sharp comedy.' (Ballet-Tanz, October 2009)