Choreographer Laurent Chétouane tackles an iconic work: Bach’s St John Passion. He is not interested in a perfect execution of the music and doesn’t allow his dancers to ‘portray’ the Passion. Will Bach still move you without the security of a set choreography, trained singers and only seven instruments? What happens when Bach’s music is desecrated?

A group of twelve performers explores the mystery of pleasure. In a long, sensual movement bodies touch, test, and lose their borders. They vibrate, entering into contact and composition with their environment, forming unexpected constellations. Mette Ingvartsen looks seven concepts of pleasure straight in the eye.

Five performers travel through the history of the dance – and possibly into its future. Time and time again they enter an impressive new world. Their constant effort to stay upright reveals inherent vulnerability. In Built to Last Meg Stuart works for the first time with existing classical music.

On 28th June 1914 Gavrilo Princip killed Franz Ferdinand, the heir to the Habsburg throne, during his visit to Sarajevo. The attack sparked off the events leading to WWI. De Warme Winkel presents us with a performance about a world that is on the verge of disappearing. A manic, orgiastic, theatrical reconstruction which is ultimately reminiscent only of a battlefield.

Dancers, actors, musicians, set, lighting and costume designers enter into dialogue with one another as equals. One powerful image succeeds another. In Sketches/Notebook, you are repeatedly swept along by the image, movement and music, and are inevitably drawn into this bizarre and intimate ritual.

What happens when people come together, how do we relate to and in a group? This is the fundamental question in two productions by the choreographer and performer Ivana Müller. You can watch them both on the same evening. In the production In common you are the observer and in We are still watching you are the participant. A written script guides you through unexpected scenes and situations.

For his Sacré Sacre du Printemps, Laurent Chétouane has chosen one of the most influential works in the history of modern dance. Unlike Maurice Béjart and Pina Bausch, he shifts the topic of ritual spring sacrifice to a sacrifice of Le sacre du printemps itself. He asks himself why we as a community wish to assimilate the foreign.

In Nora (A Doll’s House), Henrik Ibsen wrote a sharply critical play about the traditional roles of husband and wife in 19th-century marriage. This time tg STAN will be performing in English; Nora is a fascinating story about moral condescension and social hypocrisy, but it is also a subtle critique of consumerism in the Europe of 2012. Nora has been selected for the 2013 Theaterfestival.

In 2009 Jan Ritsema initiated AGORA, a project whose ambition is to reclaim for theatre the open, public quality it once possessed. It resulted in 3 theatre pieces of which the first one, Oidipous, my foot, premiered at the Kaaitheater in 2011. Now a book has been published: a collection of raw materials in preparation for a fourth act.