Technology dominates everything. Including these productions
Warning: this show is cancelled to help contain the spread of the new coronavirus.
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.
Mette Ingvartsen creates a universe in which people, technology and organic matter coexist to create an abstract set of movements. Inspired by how bodies are sensorially affected by the digital, the performance explores a poetics of plasticity, abstraction and imagination. Through light, shadow and reflection, the nine dancers open an enchanting landscape that you can enter as a viewer.
This curated Beckett evening presents a surprising mix of forms: a monologue by Johan Leysen; a video lecture by philosopher and mathematician Jean Paul Van Bendegem; and a performative scenography as a possible landscape for a Beckett text. Through this combination, Kris Verdonck explores a fascination that he shares with Beckett, namely technology and the increasing conflict between humans and machines.
During a meditative crying marathon that lasts almost an hour, two futuristic female characters question the mechanisms that turn personal emotions into political phenomena. In a choreography that uses video and large sheets of paper – simultaneously protest signs and drying laundry – their tears of weakness become an act of political power.
Please note: this show has been cancelled to help contain the spread of the new coronavirus.
In the first part of Suite n° 4, recognizable and anonymous voices overlap as though they were coming from different acoustic spaces. In the second part, the voices are accompanied by eight musicians from Ictus. The Encyclopédie de la parole collective presents a performance about absence, like an opera without singers or a theatre without actors. For 150 minutes, you hear a thousand concrete situations in more than 30 languages.
For his lecture-performance Move 37, Thomas Ryckewaert researched artificial intelligence and cosmology. Along with cosmologist Thomas Hertog (KU Leuven), he explores ways of uncovering the radically strange. We run up against the boundaries of our knowledge when we hear Hertog’s cosmological insights and that is an alienating but also humbling experience.
What impact will far-reaching digitisation have on our lives? In what ways does it change the way we think, feel, speak or love? Meet Bartlebabe, creature of Anna Franziska Jäger and Nathan Ooms, figure between human and algorithm. She unleashes a mass of online content on the analogue reality of the theatre, until it becomes so distorted that it takes on a monstrous face
The performance How not to be understood? approaches art as a spirit. A spirit that surrounds people, influences them and appears to them in unpredictable ways. Through video fragments, a piece of fabric and his own body, Marcos Simões takes you on a journey through a spiritual sequence of rituals. Get ready for this encounter with art as an unformed being: a process that connects the invisible to the visible, the finite to the infinite, the one to the many.