See the big names in action
Jan Fabre shatters Greek tragedy with violence, ecstasy and Homeric laughter. For 24 hours, a maelstrom of images carries you off to a different, labyrinthine time. Climb the mountain – together with 27 performers covering four generations – and become part of this monumental happening.
In 1983, Anne Teresa De Keersmaeker firmly put her newly formed dance company Rosas on the international map with Rosas danst Rosas. Four dancers dance themselves, again and again. For this revival, an entirely new, young cast will dance Rosas danst Rosas.
Elfriede Jelinek wrote Die Schutzbefohlenen in 2013 as a reaction to the increasingly desperate refugee problem in Europe. Her text has proved to be more than prophetic: all the images that are now burnt into our memories she minutely calls to life years before the actual events. Guy Cassiers matches Jelinek’s torrent of words with images and with four dancers in a choreography by Maud Le Pladec.
Six times now, Maatschappij Discordia has created a performance from a female perspective with their focus series Weiblicher Akt. The seventh part is about women and power. Discordia adapts the plot of Shakespeare’s famous Macbeth to create a story from the woman’s point of view. It becomes Mevrouw (Lady) Macbeth.
“Singing about life all the time is unsustainable for anyone. Death – or rather, human beings’ finite nature – also deserves a song, a dance.” Grace Ellen Barkey poses questions about our struggle with mortality, on Mahler's music. Maarten Seghers gives an intimate rendition of the song and the orchestration, as a kind of commemoration.
Socrates is the first in a series of philosophic monologues by Stefaan Van Brabandt. Each monologue is written as if the philosopher himself were speaking. Socrates is an ironic, poignant, tragicomic piece that sets you thinking.
During an improvised encounter, Meg Stuart and Tim Etchells negotiate, renegotiate and explore the themes and methodologies that characterize each other’s work: from presence and absence, need and loss, to fragmentary storylines.
Six performers and three musicians meet one another in a nightclub. Or is it an arena? In this unreliable, underground refuge, we hear thumping basses and playful jazz. UNTIL OUR HEARTS STOP was one of the absolute highlights of last season, and more than deserved its nomination for the Theaterfestival 2016.
What happens when Shakespeare’s rhythmic and poetic visual language becomes dance? Golden Hours (As you like it) – an encounter between Brian Eno and Shakespeare – draws you into a mildly ironic world, where the characters speak a language that doesn’t need deciphering to be grasped, yet isn’t pantomime.