Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
Actress/visual artist Dolores Bouckaert and dancer/choreographer Charlotte Vanden Eynde are both fascinated by the body. In Deceptive Bodies they focus on the representation of the theatrical body and the (mis)perception of it.
Throughout history, the female body has been especially subjected to a controlled gaze. Vanden Eynde and Bouckaert immersed themselves in the phenomenon of hysteria, focussing in particular on how hysterics turned into actresses of their own illness at the end of the 19th century. The inexplicable physical symptoms of these women were often highly aesthetic and theatrical. In the name of scientific research their bodies became a form of art in front of an audience or a camera. But how sincere was the language of their bodies? And to what...
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Told by a cat, Book Burning is the story of a man who lights up while his daughter plunges into the trunk. Perhaps it is a fable. It could be a political, even a utopian play. Not because it soakes in good intentions and programs, but because it bets on the magical possibilities of language and radical imagination. Book Burning is not what it is but what it can become: a proposal for the beginning of a new world.
" A tribute to critical thought, the knowledge, humour and art of narration.(Cobra, BE)
"The alliance of the poetics...
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Told by a cat, Book Burning is the story of a man who lights up while his daughter plunges into the trunk. Perhaps it is a fable. It could be a political, even a utopian play. Not because it soakes in good intentions and programs, but because it bets on the magical possibilities of language and radical imagination. Book Burning is not what it is but what it can become: a proposal for the beginning of a new world.
" A tribute to critical thought, the knowledge, humour and art of narration.(Cobra, BE)
"The alliance of the poetics...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
In Sitting with the Body 24/7, a small group of people retreats into a shop window in the city centre for a week. They perform ordinary activities there: sitting, lying, walking, standing, making things, seeing, dancing and speaking.
The fixed timetable and the concentration on one activity at a time are the conditions that provide the opportunity for physical introspection. By tracing and acknowledging physical perceptions and intentions, the performers try to give voice to what usually lies hidden in the human body. At the same time, Sitting with the Body 24/7 relates to an urban environment and the possible disruptions it may bring. The passer-by is invited to participate in this paradoxical retreat in public space by watching the actions or by entering the space and...
What does nature say? To find out, Myriam Van Imschoot visited a zoo, used a tuning fork to listen to a motorway, discovered on walks in the woods birds that sound like chainsaws or can imitate the ringtones of mobile phones, saw crocodiles in Australia but couldn’t hear them…
Drawing on a variety of field recordings, five performers – coming from the noise underground scene to pop – replicate these various sounds, using only their voices. They give a sort of a cappella rendition of the planet's soundscapes and the buzz in the world.
What Nature Says is a radiophonic performance, a show to listen to and watch, both recognizable and abstract, and in which notions about humanity, nature and machines are called into question. If you listen carefully, you will hear that not everything is running smoothly.
Listen...
Léopold, send to the countryside to take a breath of fresh air, arrives at Mamie Ronce. The old lady lives there alone with her dog who hates children. Every morning, Mamie Ronce watches her favourite soap “A Rose on the Wall”. The rest of the time, she energetically mows the grass of her garden. Just arrived at Mamie Ronce, the boy has to help her pluck the blackberries from the filled bushes. He hears someone sneering and… stings himself! The night falls. Mamie Ronce makes soup, nettlesoup!
"Eat your berries!" is made for children of 5 year old or older. It's a show with shadows where the manipulation of silhouettes and the making of sounds is done before the eyes of the spectators. There are three overhead projectors placed on the ground, who are played by some trunks, puppets and two actresses. The musician, surrounded by his instruments, camps on the side of the stage....
Phenomena, the first group choreography created by Vardarou, is inspired by Hardcore Research on Dance (2012), a solo created around the origins of her personal way of movement.
'Phenomena' are humanly provoked events, moments of tiny contents that surface, outbursts of statements, emptiness, reactions and enhancements of a narrative that is turbulently being shaped. In Phenomena the Greek choreographer Georgia Vardarou focuses on the personal, individual movement. Three dancers make their own movement language and their own trail. The choreography seems to emerge spontaneously. Conflict and harmony determine the storyline. The only boundaries are the theatrical space and the need to give meaning to the...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
Nothing distinguishes us from the people who listen to us. We are Lambda citizens who decided to become revolutionaries in less than a month. We embrace the battle and found ways to fight inability, succeed financially, encounter love and, most of all, counter depression and schizophrenia. we have resolved to combat impotence, to succeed financially, to meet love and especially to counter depression and schizophrenia. In short: cobblestones instead of Xanax!
During one month Quentin Manfroy and Manah Depauw withdrew their money from the bank, attempted a political murder, engaged in sabotage and other acts of civil disobedience. They share their experiences in the radio documentary Don't take the elevator, take the power!, composed of interviews, extracts from their journal, revolutionary thoughts, contradictions (often) and lack of courage (sometimes)....
What does nature say? To find out, Myriam Van Imschoot visited a zoo, used a tuning fork to listen to a motorway, discovered on walks in the woods birds that sound like chainsaws or can imitate the ringtones of mobile phones, saw crocodiles in Australia but couldn’t hear them…
Drawing on a variety of field recordings, five performers – coming from the noise underground scene to pop – replicate these various sounds, using only their voices. They give a sort of a cappella rendition of the planet's soundscapes and the buzz in the world.
What Nature Says is a radiophonic performance, a show to listen to and watch, both recognizable and abstract, and in which notions about humanity, nature and machines are called into question. If you listen carefully, you will hear that not everything is running smoothly.
Listen...
For their project This place, Marcos Simoes and Sara Manente invite an “artistic couple” to share for two weeks a working space and a number of practices. The project consists of seven variations with seven different couples. By doing so, This place intends to keep on ‘displacing’ itself, its proposal, its performativity and its context. The project consists of every single as well as all variations together.
At the beginning of the two weeks of residency, Manente & Simoes, together with the couple consult a Tarot reader to find out the bond of the artistic couple and answers to their questions such as - how will the two weeks be? Which problems will we be facing, how will we take certain decisions, how will the performance end? As a starting point, Manente and Simoes propose to each couple the same kit of practices created out of experiences of ESP (extra sensorial perceptions) in the form of a manual of instructions for performance.These...
Hertz, the performance-concert by choreographer Sidney Leoni, is subject to obscurity, high sound pressure levels, vibrations and fog.
Created together with sound artist Frédéric Alstadt, lighting designer Jan Fedinger, musicians Kjetil Brandsdal, Morten J. Olsen, Jonathan Saldanha and performers Martin Lervik and Stina Nyberg, Hertz destabilizes the convention of “watching" performances by challenging our accustomed use of our senses. While our eyes are deprived of the last bit of visible light in the theater, sounds are layered upon each other with a density and intensity that drastically delays (re)cognition, orientation and understanding. Rather than...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
On March 10, Immerwahr will begin. Inevitable. Immerwahr is a play. It’s about Midas, Ellen and their young boy Levi. This family will encounter some adventures. Immerwahr. I know the title promises a lot, not to mention it’s just pretentious: Immerwahr, eternal truth and if you pronounce it badly you hear Immer war, always war, unfortunately mankind has a tendency towards bad pronunciation.
But in the hope to appease all this a tiny bit, I must just say that Immerwahr is simply the name of the woman the play is inspired by: Clara Immerwahr. The wife of Fritz Haber. Father of chemical warfare, inventor of the fertilizer that turned Bayer into the Moloch that feeds one fifth of the world's population and his military invention in WW1 that was further developed in WW2 in the form of Zyklon B. Clara Immerwahr, a brilliant chemist herself, tried to resist her husband's cocktails of war and science.
The eternal truth goes into...
The Middle Ages is a performance for five dancers about a time which is inherently ‘middle’- ambiguous, fluid, either both-and or neither-nor.
Through an (over-the-top) use of costumes and a rigorous investment in movement, the performance attempts to occupy an ambiguous place and time, where historical references overlap and fold over one another. The performers' time-travel through the history of movement becomes increasingly layered and abstracted, while the speed of the performance, or rather, time in general, becomes warped. Actions and events are compressed and stretched by the performers, lending an uncertainty to the time which the performance speaks of and the timing...
Bernard Van Eeghem is a theatre-maker, artist and writer. In Sanglier these activities are combined more than ever.
** nominated as ‘best performace’ for the “prix de la critique 2012” **
Van Eeghem tells anecdotes from his youth in Bruges. One day his father took him to the procession of the Holy Blood. It made an indelible impression. In this performance, Van Eeghem paints what he tells and tells what he paints. Ending up with himself and his earliest beginnings.
...
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Told by a cat, Book Burning is the story of a man who lights up while his daughter plunges into the trunk. Perhaps it is a fable. It could be a political, even a utopian play. Not because it soakes in good intentions and programs, but because it bets on the magical possibilities of language and radical imagination. Book Burning is not what it is but what it can become: a proposal for the beginning of a new world.
" A tribute to critical thought, the knowledge, humour and art of narration.(Cobra, BE)
"The alliance of the poetics...
What does nature say? To find out, Myriam Van Imschoot visited a zoo, used a tuning fork to listen to a motorway, discovered on walks in the woods birds that sound like chainsaws or can imitate the ringtones of mobile phones, saw crocodiles in Australia but couldn’t hear them…
Drawing on a variety of field recordings, five performers – coming from the noise underground scene to pop – replicate these various sounds, using only their voices. They give a sort of a cappella rendition of the planet's soundscapes and the buzz in the world.
What Nature Says is a radiophonic performance, a show to listen to and watch, both recognizable and abstract, and in which notions about humanity, nature and machines are called into question. If you listen carefully, you will hear that not everything is running smoothly.
Listen...
On March 10, Immerwahr will begin. Inevitable. Immerwahr is a play. It’s about Midas, Ellen and their young boy Levi. This family will encounter some adventures. Immerwahr. I know the title promises a lot, not to mention it’s just pretentious: Immerwahr, eternal truth and if you pronounce it badly you hear Immer war, always war, unfortunately mankind has a tendency towards bad pronunciation.
But in the hope to appease all this a tiny bit, I must just say that Immerwahr is simply the name of the woman the play is inspired by: Clara Immerwahr. The wife of Fritz Haber. Father of chemical warfare, inventor of the fertilizer that turned Bayer into the Moloch that feeds one fifth of the world's population and his military invention in WW1 that was further developed in WW2 in the form of Zyklon B. Clara Immerwahr, a brilliant chemist herself, tried to resist her husband's cocktails of war and science.
The eternal truth goes into...
Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
Bernard Van Eeghem. Who is this man? What motivates him? Where and why does he live?
Come and see IF, his brand-new show. Through a mix of disciplines and a sequence of acts at an incredibly fast pace, Bernard makes the audience get a grasp of what makes life worthwhile for him. Song and dance, mime and political statements, poetry and anecdotes, theatre and art history, it will all be covered at large. A performance that flies by, until reaching a thrilling climax that grabs you by the throat.
'Pouce!' is a remake of 'IF' in collaboration with Katja Dreyer, inwhich she reveals in a schematic way, the rather anonimous livestory of Bernard who at first is not visible on stage.
Thus it begins with a song, then another song and after that he dances or rather he moves in a very particular way, drawing circles of light, unveiling an enormous lookalike Picasso painting of his late portrait period i.e. just before the Second World War began. But don't mention the war! Yes, don't mention anything at all! Just sing and dance along, unfold...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
The Middle Ages is a performance for five dancers about a time which is inherently ‘middle’- ambiguous, fluid, either both-and or neither-nor.
Through an (over-the-top) use of costumes and a rigorous investment in movement, the performance attempts to occupy an ambiguous place and time, where historical references overlap and fold over one another. The performers' time-travel through the history of movement becomes increasingly layered and abstracted, while the speed of the performance, or rather, time in general, becomes warped. Actions and events are compressed and stretched by the performers, lending an uncertainty to the time which the performance speaks of and the timing...
What does nature say? To find out, Myriam Van Imschoot visited a zoo, used a tuning fork to listen to a motorway, discovered on walks in the woods birds that sound like chainsaws or can imitate the ringtones of mobile phones, saw crocodiles in Australia but couldn’t hear them…
Drawing on a variety of field recordings, five performers – coming from the noise underground scene to pop – replicate these various sounds, using only their voices. They give a sort of a cappella rendition of the planet's soundscapes and the buzz in the world.
What Nature Says is a radiophonic performance, a show to listen to and watch, both recognizable and abstract, and in which notions about humanity, nature and machines are called into question. If you listen carefully, you will hear that not everything is running smoothly.
Listen...
Léopold, send to the countryside to take a breath of fresh air, arrives at Mamie Ronce. The old lady lives there alone with her dog who hates children. Every morning, Mamie Ronce watches her favourite soap “A Rose on the Wall”. The rest of the time, she energetically mows the grass of her garden. Just arrived at Mamie Ronce, the boy has to help her pluck the blackberries from the filled bushes. He hears someone sneering and… stings himself! The night falls. Mamie Ronce makes soup, nettlesoup!
"Eat your berries!" is made for children of 5 year old or older. It's a show with shadows where the manipulation of silhouettes and the making of sounds is done before the eyes of the spectators. There are three overhead projectors placed on the ground, who are played by some trunks, puppets and two actresses. The musician, surrounded by his instruments, camps on the side of the stage....
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
Since the mid-19th century, America and its westward expansion became synonymous with ideals of the pursuit of individual freedom. In this case, it was Man against the Land, and it was clearly Man's right to win.The extent to which this expansion has succeeded is evident in our current hyper-globalized economy. But at the same moment that we become aware of how pervasive this success has been, we find that the project of the individual over his environment raises serious doubts and anxieties.With three cowboys and a gigantic inflatable set,...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
Bernard Van Eeghem. Who is this man? What motivates him? Where and why does he live?
Come and see IF, his brand-new show. Through a mix of disciplines and a sequence of acts at an incredibly fast pace, Bernard makes the audience get a grasp of what makes life worthwhile for him. Song and dance, mime and political statements, poetry and anecdotes, theatre and art history, it will all be covered at large. A performance that flies by, until reaching a thrilling climax that grabs you by the throat.
'Pouce!' is a remake of 'IF' in collaboration with Katja Dreyer, inwhich she reveals in a schematic way, the rather anonimous livestory of Bernard who at first is not visible on stage.
Thus it begins with a song, then another song and after that he dances or rather he moves in a very particular way, drawing circles of light, unveiling an enormous lookalike Picasso painting of his late portrait period i.e. just before the Second World War began. But don't mention the war! Yes, don't mention anything at all! Just sing and dance along, unfold...
Actress/visual artist Dolores Bouckaert and dancer/choreographer Charlotte Vanden Eynde are both fascinated by the body. In Deceptive Bodies they focus on the representation of the theatrical body and the (mis)perception of it.
Throughout history, the female body has been especially subjected to a controlled gaze. Vanden Eynde and Bouckaert immersed themselves in the phenomenon of hysteria, focussing in particular on how hysterics turned into actresses of their own illness at the end of the 19th century. The inexplicable physical symptoms of these women were often highly aesthetic and theatrical. In the name of scientific research their bodies became a form of art in front of an audience or a camera. But how sincere was the language of their bodies? And to what...
Bernard Van Eeghem. Who is this man? What motivates him? Where and why does he live?
Come and see IF, his brand-new show. Through a mix of disciplines and a sequence of acts at an incredibly fast pace, Bernard makes the audience get a grasp of what makes life worthwhile for him. Song and dance, mime and political statements, poetry and anecdotes, theatre and art history, it will all be covered at large. A performance that flies by, until reaching a thrilling climax that grabs you by the throat.
'Pouce!' is a remake of 'IF' in collaboration with Katja Dreyer, inwhich she reveals in a schematic way, the rather anonimous livestory of Bernard who at first is not visible on stage.
Thus it begins with a song, then another song and after that he dances or rather he moves in a very particular way, drawing circles of light, unveiling an enormous lookalike Picasso painting of his late portrait period i.e. just before the Second World War began. But don't mention the war! Yes, don't mention anything at all! Just sing and dance along, unfold...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
On March 10, Immerwahr will begin. Inevitable. Immerwahr is a play. It’s about Midas, Ellen and their young boy Levi. This family will encounter some adventures. Immerwahr. I know the title promises a lot, not to mention it’s just pretentious: Immerwahr, eternal truth and if you pronounce it badly you hear Immer war, always war, unfortunately mankind has a tendency towards bad pronunciation.
But in the hope to appease all this a tiny bit, I must just say that Immerwahr is simply the name of the woman the play is inspired by: Clara Immerwahr. The wife of Fritz Haber. Father of chemical warfare, inventor of the fertilizer that turned Bayer into the Moloch that feeds one fifth of the world's population and his military invention in WW1 that was further developed in WW2 in the form of Zyklon B. Clara Immerwahr, a brilliant chemist herself, tried to resist her husband's cocktails of war and science.
The eternal truth goes into...
Since the mid-19th century, America and its westward expansion became synonymous with ideals of the pursuit of individual freedom. In this case, it was Man against the Land, and it was clearly Man's right to win.The extent to which this expansion has succeeded is evident in our current hyper-globalized economy. But at the same moment that we become aware of how pervasive this success has been, we find that the project of the individual over his environment raises serious doubts and anxieties.With three cowboys and a gigantic inflatable set,...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
The Middle Ages is a performance for five dancers about a time which is inherently ‘middle’- ambiguous, fluid, either both-and or neither-nor.
Through an (over-the-top) use of costumes and a rigorous investment in movement, the performance attempts to occupy an ambiguous place and time, where historical references overlap and fold over one another. The performers' time-travel through the history of movement becomes increasingly layered and abstracted, while the speed of the performance, or rather, time in general, becomes warped. Actions and events are compressed and stretched by the performers, lending an uncertainty to the time which the performance speaks of and the timing...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Told by a cat, Book Burning is the story of a man who lights up while his daughter plunges into the trunk. Perhaps it is a fable. It could be a political, even a utopian play. Not because it soakes in good intentions and programs, but because it bets on the magical possibilities of language and radical imagination. Book Burning is not what it is but what it can become: a proposal for the beginning of a new world.
" A tribute to critical thought, the knowledge, humour and art of narration.(Cobra, BE)
"The alliance of the poetics...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
In her new work Do You Still Love Me?Sanja Mitrović continues to examine important political and social issues of our time, and the dramatic moments in which collective behavior intertwines with the private sphere. Do You Still Love Me? takes theatre and football as a twin lens through which to consider the notions of community and belonging, and the importance of love in its many complex and contradictory incarnations.
Two worlds – football and theatre – with seemingly not much in common. What could ensue from their meeting? Four die-hard football supporters and four die-hard professional performers are brought together on stage to reflect on what it is they really believe in, and at what cost. Weaving their personal memories, anecdotes and opinions with fragments of theatre classics, they create a series of situations in which both sides' views are put under scrutiny and held up as mirrors to passions and prejudices that underlie them. As they soldier...
There are senders and receivers and there is an audience too.
There is “belief” and there is “make belief” and there is “magic” too.
We create the magic by creating the rules for it to happen.
We empower an object, a person, a situation through speculation and prediction.
Like an “Experimental Magic” without magicians.
Sara and Marcos conceived the evening as an experiment in telepathy: have you ever had paranormal experiences? Do you know someone who has telepathic skills? Did you ever hear a ghost? Have you ever had premonitory vision? Did you hear of astral voyages?
The telepathy plays on the following assumption: what if we all have telepathic powers to send and receive messages between each other? In the setting of Tele Visions, there are two groups in front of each other (the audience watching the experiment and the members of the audience chosen to...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
Bernard Van Eeghem. Who is this man? What motivates him? Where and why does he live?
Come and see IF, his brand-new show. Through a mix of disciplines and a sequence of acts at an incredibly fast pace, Bernard makes the audience get a grasp of what makes life worthwhile for him. Song and dance, mime and political statements, poetry and anecdotes, theatre and art history, it will all be covered at large. A performance that flies by, until reaching a thrilling climax that grabs you by the throat.
'Pouce!' is a remake of 'IF' in collaboration with Katja Dreyer, inwhich she reveals in a schematic way, the rather anonimous livestory of Bernard who at first is not visible on stage.
Thus it begins with a song, then another song and after that he dances or rather he moves in a very particular way, drawing circles of light, unveiling an enormous lookalike Picasso painting of his late portrait period i.e. just before the Second World War began. But don't mention the war! Yes, don't mention anything at all! Just sing and dance along, unfold...
Phenomena, the first group choreography created by Vardarou, is inspired by Hardcore Research on Dance (2012), a solo created around the origins of her personal way of movement.
'Phenomena' are humanly provoked events, moments of tiny contents that surface, outbursts of statements, emptiness, reactions and enhancements of a narrative that is turbulently being shaped. In Phenomena the Greek choreographer Georgia Vardarou focuses on the personal, individual movement. Three dancers make their own movement language and their own trail. The choreography seems to emerge spontaneously. Conflict and harmony determine the storyline. The only boundaries are the theatrical space and the need to give meaning to the...
There are senders and receivers and there is an audience too.
There is “belief” and there is “make belief” and there is “magic” too.
We create the magic by creating the rules for it to happen.
We empower an object, a person, a situation through speculation and prediction.
Like an “Experimental Magic” without magicians.
Sara and Marcos conceived the evening as an experiment in telepathy: have you ever had paranormal experiences? Do you know someone who has telepathic skills? Did you ever hear a ghost? Have you ever had premonitory vision? Did you hear of astral voyages?
The telepathy plays on the following assumption: what if we all have telepathic powers to send and receive messages between each other? In the setting of Tele Visions, there are two groups in front of each other (the audience watching the experiment and the members of the audience chosen to...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
There are senders and receivers and there is an audience too.
There is “belief” and there is “make belief” and there is “magic” too.
We create the magic by creating the rules for it to happen.
We empower an object, a person, a situation through speculation and prediction.
Like an “Experimental Magic” without magicians.
Sara and Marcos conceived the evening as an experiment in telepathy: have you ever had paranormal experiences? Do you know someone who has telepathic skills? Did you ever hear a ghost? Have you ever had premonitory vision? Did you hear of astral voyages?
The telepathy plays on the following assumption: what if we all have telepathic powers to send and receive messages between each other? In the setting of Tele Visions, there are two groups in front of each other (the audience watching the experiment and the members of the audience chosen to...
Aliciacarmen is an attempt to hammer away the logics of identity which underlie the dynamics of consumerism.
Armed with hammers, the performers insist again and again on the action of hammering. But in what way and to what end? Absent another object, the gesture of hitting a hammer announces itself like a series of loud questions. What does this object we think we know so well do when it's not being used to do the one thing we think its good for? Can a violent act impose the most subtle shifts in our logic?...
There are senders and receivers and there is an audience too.
There is “belief” and there is “make belief” and there is “magic” too.
We create the magic by creating the rules for it to happen.
We empower an object, a person, a situation through speculation and prediction.
Like an “Experimental Magic” without magicians.
Sara and Marcos conceived the evening as an experiment in telepathy: have you ever had paranormal experiences? Do you know someone who has telepathic skills? Did you ever hear a ghost? Have you ever had premonitory vision? Did you hear of astral voyages?
The telepathy plays on the following assumption: what if we all have telepathic powers to send and receive messages between each other? In the setting of Tele Visions, there are two groups in front of each other (the audience watching the experiment and the members of the audience chosen to...
On stage, a collection of authentic objects that have played a unique role in history. Together with these, Pieter De Buysser, the galloper Zoltan and Abbas, his horse, are on a search for a lost future.
A joyful and desperate epic journey is taking off, with love and a glove, with Pavlov's bell and Aquinos' belly, with Yeltsin's last bottles and Walt Disney's meat knife. Can they turn time into a landscape with skiproads?
"Follow that man. Theatre as a gift. Theatre that liberates." **** De Morgen
"Theatre with horsepower." **** Knack
"De Buysser is a pickpocket of words." *** De Standaard
"A fabulous magician with stories that concern us." **** De Theaterkrant...
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
Monique finds its inspiration in bondage, turning its practice into choreographic instructions. How does one pervert a “perverse” act?
A similar strategy has been applied to all the elements in Monique: all collaborators were searching for disrespectful ways of working with elements they adored.
Different bodily techniques are thus subverted, happily mixed up within the endless horizon of well-known images of the moving body such as gymnastics, contemporary dance, modern dance, sex games, a range of movement therapies...
"SM meets action art meets contact improvisation meets les ballets russes".
Monique is a dance duet, starting as a set of quiet rituals and evolving into an homage to theater dance of the last century, whose emblematic costumes have been referenced by An Breugelmans' creations.
The aesthetic of Monique is found...
Actress/visual artist Dolores Bouckaert and dancer/choreographer Charlotte Vanden Eynde are both fascinated by the body. In Deceptive Bodies they focus on the representation of the theatrical body and the (mis)perception of it.
Throughout history, the female body has been especially subjected to a controlled gaze. Vanden Eynde and Bouckaert immersed themselves in the phenomenon of hysteria, focussing in particular on how hysterics turned into actresses of their own illness at the end of the 19th century. The inexplicable physical symptoms of these women were often highly aesthetic and theatrical. In the name of scientific research their bodies became a form of art in front of an audience or a camera. But how sincere was the language of their bodies? And to what...
Monique finds its inspiration in bondage, turning its practice into choreographic instructions. How does one pervert a “perverse” act?
A similar strategy has been applied to all the elements in Monique: all collaborators were searching for disrespectful ways of working with elements they adored.
Different bodily techniques are thus subverted, happily mixed up within the endless horizon of well-known images of the moving body such as gymnastics, contemporary dance, modern dance, sex games, a range of movement therapies...
"SM meets action art meets contact improvisation meets les ballets russes".
Monique is a dance duet, starting as a set of quiet rituals and evolving into an homage to theater dance of the last century, whose emblematic costumes have been referenced by An Breugelmans' creations.
The aesthetic of Monique is found...
Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
Tempus Fugit, speciaal gemaakt voor De Grote Verleieding en de stad Kortrijk, vindt inspiratie in de grote Leiewerken en het daar aan gekoppelde stadsontwikkelingsproject. Hoe veranderde dit ambitieuze plan het beeld van de stad? Waar plaatsen de bewoners zich in dit nieuwe beeld? En hoe sterk beïnvloedt een nieuwe omgeving ook de collectieve identiteit?
Welke ervaringen werden tijdens de Leiewerken de bodem ingezogen en verschuilen zich nu onder de modder?
Tempus Fugit bundelt interviews van getuigen en bewoners en geeft die terug in een bijzonder soort van 'docu-fictie'. Persoonlijke herinneringen, legendes, fait divers en technische gegevens vormen samen een originele 'cantate', een hommage aan de vloeibare rivier en een meditatie over de Westerse benadering van vooruitgang.
Tempus Fugit toont niet enkel het ideaalbeeld dat stadsmarketting nastreeft, maar heeft het ook over ambitie, tijd en hoe design ons leven moet vormgeven.
Trek stevige stapschoenen aan, zorg voor eventuele regenkledij en...
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
Tempus Fugit, speciaal gemaakt voor De Grote Verleieding en de stad Kortrijk, vindt inspiratie in de grote Leiewerken en het daar aan gekoppelde stadsontwikkelingsproject. Hoe veranderde dit ambitieuze plan het beeld van de stad? Waar plaatsen de bewoners zich in dit nieuwe beeld? En hoe sterk beïnvloedt een nieuwe omgeving ook de collectieve identiteit?
Welke ervaringen werden tijdens de Leiewerken de bodem ingezogen en verschuilen zich nu onder de modder?
Tempus Fugit bundelt interviews van getuigen en bewoners en geeft die terug in een bijzonder soort van 'docu-fictie'. Persoonlijke herinneringen, legendes, fait divers en technische gegevens vormen samen een originele 'cantate', een hommage aan de vloeibare rivier en een meditatie over de Westerse benadering van vooruitgang.
Tempus Fugit toont niet enkel het ideaalbeeld dat stadsmarketting nastreeft, maar heeft het ook over ambitie, tijd en hoe design ons leven moet vormgeven.
Trek stevige stapschoenen aan, zorg voor eventuele regenkledij en...
A site specific performance of a slowly mutating image high in the sky. A striking intervention in public space.
A long red dress, almost touching the ground, loosens tranquily small parts of itself until it fully disappears. It's a pompous image, but at the same time humble and modest. In it's offer of beauty it comforts us and distrupts us. Without noticing we are holding still, asking ourselves questions and color the image with our own narratives.
In dialogue with Dolores Bouckaert Wings is custom made to each context. The performances lasts about 90 minutes and can be seen from far distance....
Sitting with the Body / ONE HOUR is a 60 minute retreat from the many other activities at disposal and at the same time an act in itself.
Sitting With The Body / ONE HOUR is based on the work Sitting With The Body 24/7 - Retreat in public spaceOur lives are governed by an economy that never sleeps. What is its impact on our relationship with time, work and our body? During Sitting With The Body 24/7 a group of people retreated into a vacant commercial space with huge windows giving out onto the streets - executing certain actions, in full concentration, seven days in a row and around the clock. Following a strict schedule people are sitting, lying down, standing, walking,...
History is clogged. There are no more revolutions. What else can we add? A play about forgetting and forgiving, about knowledge and riddles and the lack of stories.
Told by a cat, Book Burning is the story of a man who lights up while his daughter plunges into the trunk. Perhaps it is a fable. It could be a political, even a utopian play. Not because it soakes in good intentions and programs, but because it bets on the magical possibilities of language and radical imagination. Book Burning is not what it is but what it can become: a proposal for the beginning of a new world.
" A tribute to critical thought, the knowledge, humour and art of narration.(Cobra, BE)
"The alliance of the poetics...
Verein zur Aufhebung des Notwendigen is a dinner and it is about democracy. Not democracy as institutional engineering for mass organisation, but democracy as something we internalize, as individuals, at the level of our day to day existence. It is about democracy as the realisation of our individual and collective desires.
A meal brings people together, it is warm and convivial. Yet, food is also home to our most intimate convictions: existential, ethical, aesthetic, economic, social, ritual or religious. In other words, dinner is the perfect set for a political showdown. The kitchen will be our theatre of operations.
For the duration of the performance, and in many ways, all those present in a theatre hall form a community. In our case, this temporary community is given the untranslatable name Verein zur Aufhebung des Notwendigen, the club, or association for...
Under Influence is a fiction feature film portraying the mysterious and psychotic journey of the actress Julia Gordon, who frenetically turns her imagination into a living world away from the humdrum existence of her contemporaries. Frustrated by the character that she is playing in a new motion picture titled Being Kate Winslet, Julia Gordon finds comfort under the influence of charismatic classic film characters – which she repetitively turns into.
Under Influence is shaped like a maze of real and naturalistic events, of series of cuts, of shifts and collisions between the real world and fictional ones, of complete imaginary and fantastic situations, of visualization of thoughts, of mental associations, of wishes and fantasies that swirl through the mind of an actress who conveys her dreams to us. The plot being the point of entry into a kaleidoscopic experience of identity and of cinema in the way of a visual, auditory and physical journey.Facebook page >IMDB page >Walk &...
Meanwhile, is a work about bodies, architectures, and disasters. The performers are evolving in a set that could be an architectural model or installation. Constantly, they have to deal with a destruction’s threat on what they build. By playing with scales, the body within the space ranges from power to helplessness.
The raw materality of the set, the physicality of the sound and the necessity of the movement turn this work into a contemplative and expanded time experience. Here or there, this is a journey in the history of a city....
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
Edelweiss is a piece for those who find pleasure in reading.
Edelweiss plays with intelligibility: a danced rebus where signs and references abound for their own sake.
Edelweiss treats all of its components as loved art works. It is time spent on gestures, sirens and robots, fabrics and drawings.
Edelweiss cultivates affection for the skillful dedication of craftsmen.
Edelweiss embraces techniques as forms of poetry, and artistry as a form of care.
Edelweiss is a meditation on the taste for signs and the taste of each sign, when signification is on leave.
Aliciacarmen is an attempt to hammer away the logics of identity which underlie the dynamics of consumerism.
Armed with hammers, the performers insist again and again on the action of hammering. But in what way and to what end? Absent another object, the gesture of hitting a hammer announces itself like a series of loud questions. What does this object we think we know so well do when it's not being used to do the one thing we think its good for? Can a violent act impose the most subtle shifts in our logic?...
The Middle Ages is a performance for five dancers about a time which is inherently ‘middle’- ambiguous, fluid, either both-and or neither-nor.
Through an (over-the-top) use of costumes and a rigorous investment in movement, the performance attempts to occupy an ambiguous place and time, where historical references overlap and fold over one another. The performers' time-travel through the history of movement becomes increasingly layered and abstracted, while the speed of the performance, or rather, time in general, becomes warped. Actions and events are compressed and stretched by the performers, lending an uncertainty to the time which the performance speaks of and the timing...
Bernard Van Eeghem. Who is this man? What motivates him? Where and why does he live?
Come and see IF, his brand-new show. Through a mix of disciplines and a sequence of acts at an incredibly fast pace, Bernard makes the audience get a grasp of what makes life worthwhile for him. Song and dance, mime and political statements, poetry and anecdotes, theatre and art history, it will all be covered at large. A performance that flies by, until reaching a thrilling climax that grabs you by the throat.
'Pouce!' is a remake of 'IF' in collaboration with Katja Dreyer, inwhich she reveals in a schematic way, the rather anonimous livestory of Bernard who at first is not visible on stage.
Thus it begins with a song, then another song and after that he dances or rather he moves in a very particular way, drawing circles of light, unveiling an enormous lookalike Picasso painting of his late portrait period i.e. just before the Second World War began. But don't mention the war! Yes, don't mention anything at all! Just sing and dance along, unfold...
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
What does nature say? To find out, Myriam Van Imschoot visited a zoo, used a tuning fork to listen to a motorway, discovered on walks in the woods birds that sound like chainsaws or can imitate the ringtones of mobile phones, saw crocodiles in Australia but couldn’t hear them…
Drawing on a variety of field recordings, five performers – coming from the noise underground scene to pop – replicate these various sounds, using only their voices. They give a sort of a cappella rendition of the planet's soundscapes and the buzz in the world.
What Nature Says is a radiophonic performance, a show to listen to and watch, both recognizable and abstract, and in which notions about humanity, nature and machines are called into question. If you listen carefully, you will hear that not everything is running smoothly.
Listen...
Actress/visual artist Dolores Bouckaert and dancer/choreographer Charlotte Vanden Eynde are both fascinated by the body. In Deceptive Bodies they focus on the representation of the theatrical body and the (mis)perception of it.
Throughout history, the female body has been especially subjected to a controlled gaze. Vanden Eynde and Bouckaert immersed themselves in the phenomenon of hysteria, focussing in particular on how hysterics turned into actresses of their own illness at the end of the 19th century. The inexplicable physical symptoms of these women were often highly aesthetic and theatrical. In the name of scientific research their bodies became a form of art in front of an audience or a camera. But how sincere was the language of their bodies? And to what...
Verein zur Aufhebung des Notwendigen is a dinner and it is about democracy. Not democracy as institutional engineering for mass organisation, but democracy as something we internalize, as individuals, at the level of our day to day existence. It is about democracy as the realisation of our individual and collective desires.
A meal brings people together, it is warm and convivial. Yet, food is also home to our most intimate convictions: existential, ethical, aesthetic, economic, social, ritual or religious. In other words, dinner is the perfect set for a political showdown. The kitchen will be our theatre of operations.
For the duration of the performance, and in many ways, all those present in a theatre hall form a community. In our case, this temporary community is given the untranslatable name Verein zur Aufhebung des Notwendigen, the club, or association for...
Edelweiss is a piece for those who find pleasure in reading.
Edelweiss plays with intelligibility: a danced rebus where signs and references abound for their own sake.
Edelweiss treats all of its components as loved art works. It is time spent on gestures, sirens and robots, fabrics and drawings.
Edelweiss cultivates affection for the skillful dedication of craftsmen.
Edelweiss embraces techniques as forms of poetry, and artistry as a form of care.
Edelweiss is a meditation on the taste for signs and the taste of each sign, when signification is on leave.
Works of science fiction give us an insight into a future civilization by telling the adventures of one of its individual inhabitants. Some use for your broken clay pots, on the contrary, provides us with the code that rules the life of the society it imagines.
The future is apprehended the other way around: it is up to us to picture what the adventures of our individual lives would be like under a defined set of new conditions. Developed in collaboration with a team of experts from different Belgian universities, Some use for your broken clay pots is a theatre piece whose script is the constitutional text for a democratic state that does not yet exist....
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
The focus of Sons of Sissy is the universe of traditions, folk dances and folk music from which the Upper Austrian country lad Simon Mayer originates.
In an experimental manner, four performers and musicians make use of traditional alpine live music, various group dances and ritualised practices. Liberating them from conservativism and conventions, they establish an unseen fusion of artistic reinterpretations and temporary social attributions of meaning. Defying categorisation and pigeonholing, the Sons of Sissy do everything they can to live up to their name as they conduct themselves as part weird folk-music quartet, part experimentally playful ritual dance combo, using humour to radically...
Edelweiss is a piece for those who find pleasure in reading.
Edelweiss plays with intelligibility: a danced rebus where signs and references abound for their own sake.
Edelweiss treats all of its components as loved art works. It is time spent on gestures, sirens and robots, fabrics and drawings.
Edelweiss cultivates affection for the skillful dedication of craftsmen.
Edelweiss embraces techniques as forms of poetry, and artistry as a form of care.
Edelweiss is a meditation on the taste for signs and the taste of each sign, when signification is on leave.
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
The Middle Ages is a performance for five dancers about a time which is inherently ‘middle’- ambiguous, fluid, either both-and or neither-nor.
Through an (over-the-top) use of costumes and a rigorous investment in movement, the performance attempts to occupy an ambiguous place and time, where historical references overlap and fold over one another. The performers' time-travel through the history of movement becomes increasingly layered and abstracted, while the speed of the performance, or rather, time in general, becomes warped. Actions and events are compressed and stretched by the performers, lending an uncertainty to the time which the performance speaks of and the timing...
Verein zur Aufhebung des Notwendigen is a dinner and it is about democracy. Not democracy as institutional engineering for mass organisation, but democracy as something we internalize, as individuals, at the level of our day to day existence. It is about democracy as the realisation of our individual and collective desires.
A meal brings people together, it is warm and convivial. Yet, food is also home to our most intimate convictions: existential, ethical, aesthetic, economic, social, ritual or religious. In other words, dinner is the perfect set for a political showdown. The kitchen will be our theatre of operations.
For the duration of the performance, and in many ways, all those present in a theatre hall form a community. In our case, this temporary community is given the untranslatable name Verein zur Aufhebung des Notwendigen, the club, or association for...
SunBengSitting is a piece straddling yodeling, folk dance and contemporary dance, a trip to the past and a playful, humorous search for identity.
Austrian farm boy and performance artist Simon Mayer invites the audience to get to know his life, his contradictions and his indignation at having to submit to categories and conventions. Having grown up on a farm facing traditions, nature, youthful rebellion and a bucolic heavy metal band, Simon Mayer moved to Vienna in 1997, attended Vienna's State Opera's dance school, spent a season as an aspiring dancer in the corps de ballet and very unexpectedly landed in a world where the word farmer could be used as an insult. The move was equal...
This is a dance of touch. The work exists in the active, tactile, engaged negotiation between performer and audience – in their tacit agreement and understanding. Arranged in an ellipse, the audience themselves form the bounds of the theatrical space. This is a journey that, by definition, performer and audience discover and create together.
After premiering the first version of The Palm of Your Hand 2015, we are now touring The Palm of Your Hand # 2 - a re-creation commissioned by the Human Body Project. This re-creation reimagines the piece by working with a group of blind and partially sighted people to help make the work communicate beyond sight....
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