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.
How can we limit CO2 emissions? There are many varied opinions on how this can be done. For many years Aviel Verbruggen has been closely involved with climate and energy policy. For example, he questions the emissions trading scheme (ETS) as a policy instrument in counteracting global warming. In this lecture he presents his views on the choices that could and should be made in Copenhagen.
Global warming has resulted in a noticeable rise in sea levels. The Netherlands has vanished beneath the waters and all 16 million inhabitants are being taken in by the hospitable Hungarian people. A hilarious ‘mockumentary’ by the Dutch theatre group Space.
Today millions of people are fleeing from the consequences of global warming. Nevertheless, no start has yet been made on developing any international policy. This debate centres on the social and humanitarian components of climate change and allows prominent speakers to talk about what needs to be done.
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.
The glamour of the musical, the directness of stand-up comedy, the concreteness and sharpness of her wit, which we already saw in Kate McIntosh’s previous work, are back in Dark Matter. The performance is an attempt to stage philosophical issues in a style full of showbiz glamour, and popular scientific experiments.
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!
Factory brings together issues and topics that Superamas will deal with in an excessive, cinematic way: conjugal violence, the extremely difficult Nation-building process, sexuality of course, and Rome, where the concept of the ‘Republic’ was first applied. They will invite the public to peep into this new project and also become part of it.
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.
With Malcolm Lowry’s Under the Volcano (1974), Guy Cassiers is staging yet another great 20th century literary work. Onder de vulkaan (Under the Volcano) is linked to other productions by Guy Cassiers such as The Wasp Factory (Ian Banks), Bezonken rood (Jeroen Brouwers), Hersenschimmen (Bernlef) and The Woman Who Walked Into Doors (Roddy Doyle).
Chaos in Afghanistan and Pakistan. Should the West send more troops? Ahmed Rashid, the most respected journalist/author on the subject is invited to give his view on the current state of affairs in the region. Jef Lambrecht, a Flemish journalist who has been covering the region for over two decades, will respond to the lecture by Ahmed Rashid. This evening is part of a series of lectures organised by MO*magazine. Kaaitheater is a partner of the series, and hosts this lecture evening.
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)
Theatre company STAN will be twenty years old in the autumn of 2009. To celebrate the event, STAN will invite a large number of friends and kindred spirits to share the stage with them for a night and a day: theatre makers, dancers, musicians,… An ‘impromptu’ marathon of 24 hours. You can follow what happens on stage the entire night and day, but also eat, drink or rest.
Joost Vandecasteele (1979) is an author, comic and theatre-maker (with Abattoir Fermé, Union Suspecte and others). In a theatrical documentary he tries to answer the most important question ever: ‘So what?’
Is it possible to say, 20 years after the fall of the Wall, that Germany has been reunited? Is 20 years enough time for Eastern Europe to have shaken off decades of communist dictatorship? How do people deal with major turning points? How much time is needed for real change?
Bert Bultinck (newspaper De Standaard) will talk to Frank Berberich, the chief-editor of Lettre International, an cultural periodical, with sister editions in Italy, Romania, Spain, Hungary, Denmark and Russia.
‘Speech Acts’ are short interventions (15 min.) before or after a performance. Performers, academics, writers and so on speak briefly but to the point about topics related to the theme of this Spoken Word. Sarah De Mul is a literary academic and writer. Nadia Fadil is a sociologist and current affairs writer. Both worked on the book Een Leeuw in een Kooi. The limits of multicultural Flanders.
‘Speech Acts’ are short interventions (15 min.) before or after a performance. Performers, academics, writers and so on speak briefly but to the point about topics related to the theme of this Spoken Word. Marjolijn van Heemstra (1981) is a writer, poet and theatre-maker.
Using text and sound, the Croatian Barbara Matijević and the Italian Giuseppe Chico offer an associative, personal view of their 1989. Their material consists of authentic and fictional audio documents either made in 1989 or related to it by content: pop songs, the Eurovision Song Contest – in 1989 won by Yugoslavia! – excerpts from radio and TV shows, private recordings and so on.
‘Speech Acts’ are short interventions (15 min.) before or after a performance. Performers, academics, writers and so on speak briefly but to the point about topics related to the theme of this Spoken Word. Pieter De Buysser (1972) is philosopher, writer and
‘Speech Acts’ are short interventions (15 min.) before or after a performance. Performers, academics, writers and so on speak briefly but to the point about topics related to the theme of this Spoken Word. Earlier this year, the journalist Dirk Tieleman travelled
around Iran with the documentary-maker Fabio Wuytack on the
occasion of the 30th anniversary of the Islamic Revolution. The
trip resulted in six documentaries for the Canvas television
‘Speech Acts’ are short interventions (15 min.) before or after a performance. Performers, academics, writers and so on speak briefly but to the point about topics related to the theme of this Spoken Word. Filip Berte (1976) is an architect and artist. His research project Eutopia focuses on the European home environment.
In Generation Jeans, Nikolai Khalezin tells his semi-autobiographical story of the Jeans Revolution in Minsk, the capital of Belarus (White Russia). This revolution is a protest against Alexander Lukashenko, the ‘last dictator in Europe’. Theatre of great urgency, directness and wit. The Belarus Free Theatre can count Mick Jagger among their fans!
Neoliberalism argues for continued withdrawal by the state and an ever-greater role for the free market. Are our democracies now no more than formal facades with a post-democracy or ‘Berlusconi democracy’ developing behind them?