A biting comedy on a respectable couple in a decent neighbourhood, by the British author and film-maker Mike Leigh. An absolute cult classic in Great Britain. Tristero’s version was a hit at the Kaaitheater’s Comedy Festival (2004) and we are here reviving it for the second time.

Cancelled for health reasons. For a refund of your tickets, please contact the box office at 02/201.59.59 or send an e-mail to tickets@kaaitheater.be.

The final-year students at the P.A.R.T.S. dance school in Brussels will be presenting their graduation projects. In the Studios they will be presenting two separate programmes, each of which will be shown on two evenings. The first programme consists of creations by Andros Zinsbrowne.

The theme of Saskia Hölbling's work is the body. In Jours Blancs she tries to incorporate the body into a context – a country, a city, a house – that suppresses it. In this piece, the female body is neither character, image nor personality, but is both question mark and hyphen between lust, pain and rage.

Heine Røsdal Avdal, a Norwegian choreographer who lives in Brussels, is fascinated by the impact of technology on human life. In Some notes are, he looks at how new forms of relationship arise as a result of new technologies – between dancer and spectator and between man and his environment. All the elements of the performance (theatre, audience, dancer, video, etc.) are used to this end, because they are all part of the same communication network.

Lachambre sees the dancer as the perfect example of a sublime union of individual and environment. He puts nine dancers on stage. Together they question the dividing line of the traditional theatre space, looking for the twilight zone where the dancer and spectator encounter one another. Lugares comunes will be as frivolous as a musical and as futuristic and utopian as science fiction.

The dancer and choreographer Frank Bock and director and stage designer Simon Vicenzi examine such theatrical codes and concepts as movement, image and perception. To give an example, they work with blind people or blindfold their performers. What are the consequences for perception and what mechanisms develop to compensate? A strange theatre experience with lasting reverberations. Here, As If... is part of their cycle of invisible dances.

After Verosimile (2002), Thomas Hauert wanted to explore the relationship between singing and the body even further. In Walking Oscar, movements, images, sound tapes and live songs interact with one another. Each gives a different view of the script, which was written by the Dutch novelist Oscar van den Boogaard. Six dancers, and several musicians and composers collaborate in this production.

For many years Kathryn Bennetts was the right-hand of the top choreographer William Forsythe and is now artistic director of the Royal Ballet of Flanders, which is about to embark on a new chapter with her. In Uncontainable we see the work of five young choreographers, all of whom are finalists in an international competition. Each of them will create a short choreographic piece for six to eight dancers from the Royal Ballet of Flanders, in which the dance idiom may be either classical or contemporary The best choreography will win the Hapag-Lloyd Prize.

The young Romanian choreographer Eduard Gabia – who has danced with Katrine Ponties and Thomas Plischke, among others – likes to explore the limits of physical experience. He has for example walked around blindfold for days; in BONUS he controls and manipulates what the audience does and does not get to see and hear. In My presence – proof of time he exposes the many forms in which we experience time.

In October the American choreographer Jennifer Lacey appeared in mhmmmm, a piece she made with the artist Nadia Lauro. She will be back again in April, this time in the Kaaitheater Studios, with a reworking of her 1995 solo Skin Mitten. The original choreography on video will be projected on a screen and provided with subtitles. At the same time, Lacey will perform her choreography live on stage. The same dance in two different ways.  Double bill with Mette Ingvartsen (50/50) and Latifa Laâbissi (I love like animals).