Jed Martin – the main character in Michel Houellebecq’s The Map and the Territory – was born near Paris in 1975. When he is forty years old, he writes a letter to his dead mother. She was as old as he was then, when she decided to take her own life. The combination of his words and his visual work results in a compelling self-portrait of a contemporary artist.
Sociologist and philosopher Didier Eribon’s Return to Reims combines autobiographical narrative and powerful sociological analysis. By exploring his own family history, he analyses how the class system influenced and continues to influence their lives.
The young director Lisaboa Houbrechts is tackling Hamlet. She has opted for the female perspective, focusing on the destructive relationship between Hamlet and his mother Queen Gertrude. Houbrechts primarily aims to illustrate Gertrude’s innocence and thus to show the iconic play in a radically different light.
Children have an insatiable hunger for unusual facts and trivia of the ‘crazy but true’ type. In the performance, children between the ages of eight and eleven form a panel of experts. A text is whispered to them via headsets. They repeat what they hear, and thus present a growing list of extraordinary facts.
Milo Rau and his team travel to the political hotspots of the age: the Mediterranean refugee routes from the Middle East and the areas affected by the Congolese Civil War. This is a semi-documentary double monologue that consciously navigates conflicting terrain: how can we bear the misery of others and why do we look at it?
It is not impossible to achieve a transition from a society that respects the limitations of the planet and offers everyone the possibility to develop their talents. But it is not easy. How can we effect a just transition in the current context of increasing polarization and inequality? Can we enhance social justice while also addressing the demands of ecological sustainability?
No trouble or expense is being spared during the centenary of the Great War. And yet, ‘the war to end all wars’ did not keep its promise. Far from it. We are still hopping from one armistice to the next Armageddon. So what are we commemorating – and especially, why?
In Dream Mandé – Djata, Rokia Traore narrates the epic of King Soundiata Keita, the unifier of the great 13th-century Mandé Empire. Traoré blends classic songs by the Mandé griots into her narrative. These poets and singers were responsible for a unique form of oral history. It is thanks to them that the story of Soundiata Keita survives. The King based his power on respect and not on greed or violence.
Welcome to Kakfontein, where the kingdom lies in ruins. In The Last King of Kakfontein, Boyzie Cekwana reacts to the rise of populist rulers in his native South Africa and in the rest of the world. This is a reflection on a world in flux, that is being destroyed by a dearth of ideas.
As the world stands on the verge of collapse, a man and a woman exchange a razor-sharp dialogue based on a caustic text by Heiner Müller. Frank Vercruyssen from tg STAN and Cynthia Loemij from Rosas share the stage and explore the essence of the relationship between words and movement. Again at Kaaitheater after 20 years!
Two men – both imprisoned in one way or another – want to live it up one last time. Begin the Beguine is the last text that the legendary filmmaker John Cassavetes ever wrote. The jet-black allegory about love and death was kept in a cupboard for 25 years by Cassavetes’ heirs. Until the German publisher S. Fischer Verlag asked Jan Lauwers to take on the staging of this masterpiece.
What is theatre? What do emotions and history signify on the stage? Faustin Linyekula shows his personal perspective on the history of dance and theatre in Africa. To what extent does the past define the present and even the future? Accompanied by music by Ray Lema, he challenges the basic techniques of “real theatre”.
Six actors on the stage and only one solo. There are no leading or secondary roles, but six simultaneous interpretations of the same script. How strictly will each actor comply with the stage directions? Will they allow one another a place in the spotlight? The Script simultaneously focuses on the existential loneliness that you sometimes feel in a group. How is it possible to be so similar and yet live ‘side by side’?
On the eve of the European and Federal elections, The Political Party is collaborating with Kaaitheater to organize an alternative election show. Come and campaign with us on this intense day packed with debates, lectures, workshops, and performances.
Who deserves to be hunted prey? Who can be killed with impunity? For centuries, revered European thinkers from Aristotle to Voltaire and Hegel have attempted to justify systemic violence against ‘the other’. Inspired by Western mythology and workshops with people who have practical experience both inside and outside Europe, Simple as ABC #3: The Wild Hunt explores the historical DNA of the ever-intensifying hunt for humans.
In the film Coup de torchon (1981), Bertrand Tavernier sketches a universe without God, in which the concepts of good and evil have no solid foundation. For this adaptation, Guy Cassiers is collaborating with the theatre collective LAZARUS. You can expect a combination between precise staging and rowdy playfulness, between literary seriousness and apparent flightiness.
A philanthropist endowed with immense faith in progress and a speech defect undertakes to build a spacecraft. The story traverses a pronounced curve in space-time, a little girl tired of the Messiah and a lost detective who no one is looking for anymore. The Tip of the Tongue does not attempt to map the world: it draws a different map. And all that in 11 dimensions, with 11 fables, in six times 11 minutes.
Unfortunately, we have to cancel this workshop due to an injury of one of the dancers.
Along with dancers from Rosas, children can take their first tentative steps into the world of dance. Tempo, improvisation, agility, and body control are the central focus of this swinging workshop, set to the saxophone of John Coltrane.
Joining the American-British invasion of Iraq in 2003 was Japan’s first military engagement since WWII. Historic peace marches took place in Tokyo, and many of the protesters were young people. In Five Days in March, a number of characters voice their deeply personal concerns. The image they sketch of their personal, everyday lives in Tokyo stands in sharp contrast to their public participation in the demonstrations. In this adaptation of his original 2007 creation, Toshiki Okada sketches a generation of young people who have lost their way.
Thirteen children, a theatre director, an author, a scenographer, and a costume designer welcome you to a house that is the final result of a long-term collaboration between Inne Goris and Imelda Primary School Molenbeek. What is the place of art in daily school life?
July 1968. The legendary Paradise Now by The Living Theatre premieres at the Festival d’Avignon. The actors attempted to unleash a revolution by getting the audience into a state of readiness. Half a century later, Michiel Vandevelde is exploring the vestiges of the legacy of May ’68. Will new future perspectives open up when thirteen young people survey a half century of history in a wild choreography of iconic images?
El Conde de Torrefiel is one of the recent revelations at the Kunstenfestivaldesarts. The duo creates visual performances in which hyper-realistic tableaux are juxtaposed with incisive texts – a mix of history, current affairs, and futurism. LA PLAZA treats the stage as a square: a public space in which banal, everyday activities in today’s Europe occur, but where disquieting scenes of the future also play out.
Anneleen shares some tools she worked with when creating The moon is the moon is the moon. These tools are not based on technique, but on imagination and sensations. Guided improvisations allow you to discover your personal movement language and to create simple dance phrases that are unique to your body. No dance experience required!
Just like Fellini made Roma – an ode to his city – Jan Fabre is celebrating his own complex, crazy country. He is doing so in the most appropriate language to capture the spirit of this slippery state: the language of the theatre and of images. With an international cast of performers and musicians, he goes in search of Belgian identity. Raymond van het Groenewoud has written a series of anthems, while author Johan de Boose wrote the text.