Does gender have a voice? Using drag, vogueing, striptease, YouTube tutorials as well as the triadic ballet by Oskar Schlemmer, seven bodies and many more objects try out new constellations, like surrealist ready-mades. With a great sense of irony, Escape Act presents hyper-stereotyped gender identities, only to deconstruct them completely.

On a stage covered with a thick layer of earth and bathed in light stand fourteen dancers – all different in age and dance background. Movements flow from one body to the next, gradually building to a wild climax. The result is a tactile experience that shares loneliness with fiction: how is it that you can be alone even when you’re in a group?

People with physical disabilities are often more associated with stationariness than with movement. In Every Body Electric, Doris Uhlich refutes this idea with vitality and vibrancy. What other possibilities open up when wheelchairs, prostheses and crutches are not perceived as obstacles but as powerful extensions of the body? You can expect a fascinating dialogue between the human and the mechanical in which very personal dance styles vary from explosive to gently poetic.

Achterland (1990) is a seminal choreography in Anne Teresa De Keersmaeker’s oeuvre. The minimalism and prevalent femininity of Rosas’ early pieces gave way to an ambiguous no-man’s-land in which boundaries and symbols were blurred. Last season, the reprise of Achterland starring a new generation of Rosas dancers made a tremendous impression: don’t miss this opportunity to see it again.