Lecture-performance (60 min, English spoken)
A voice is as singular as a fingerprint. When we scream, we catapult ourselves inside out, revealing that dimension of ourselves in between body and mind, maybe closest to our soul. “To open our mouth and let out sounds from a hole in the middle of our face”, revealing both our strongest power and deepest vulnerability.
In collected screams, Sarah Vanhee shares different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds,...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
Initiated in 2018 by Marialena Marouda and later joined by composer Charlie Usher and performance maker Elpida Orfanidou, The Oceanographies Institute (TOI) studies the kinship between humans and oceans. Focusing on the relation between these two bodies of water, TOI seeks to give particular attention to their affectual and sensual encounters.
TOI therefore explores the relations of hands to mud, ears to the breaking waves, feet to the feeling of sinking, rather than the ocean "in itself", as if devoid of human presence. The Institute collects, analyzes and reenacts people's personal stories about their encounters with the ocean. In doing that, TOI aims at becoming both an institute and an ocean – simultaneously. On the one hand, TOI seeks to undergo a process of institutionalization, by which it can affirm and disseminate the personal knowledge(s) of the ocean that it studies. On...
Initiated in 2018 by Marialena Marouda and later joined by composer Charlie Usher and performance maker Elpida Orfanidou, The Oceanographies Institute (TOI) studies the kinship between humans and oceans. Focusing on the relation between these two bodies of water, TOI seeks to give particular attention to their affectual and sensual encounters.
TOI therefore explores the relations of hands to mud, ears to the breaking waves, feet to the feeling of sinking, rather than the ocean "in itself", as if devoid of human presence. The Institute collects, analyzes and reenacts people's personal stories about their encounters with the ocean. In doing that, TOI aims at becoming both an institute and an ocean – simultaneously. On the one hand, TOI seeks to undergo a process of institutionalization, by which it can affirm and disseminate the personal knowledge(s) of the ocean that it studies. On...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Currents unfolds in two parts, as a durational installation and a performance. The installation explores the simplest of forms, a line, turned into a light sculpture. Through repetition, it defines not only rhythm, space and light, but also the movements of a dancer. He will meet and confront the moving sculpture in an effort to reconfigure the relationship between man and machine.
The initial state of alienation is pushed to reach a poetic realm, a layered landscape to dream into. As such, both installation and performance aim to reveal our contemporary position as entities forced to adapt to an ever-changing world on both a technological and socio-political level. How do we deal with these situations? How do we continually find a new balance within our own environment and how do we deal with this on a larger scale?...
In the beginning there was only shapeless darkness. For centuries man has been telling himself various stories about what came next: the birth of the world. In SUN-SET Ezra Veldhuis, Bosse Provoost and Oshin Albrecht try to find out how a ‘cosmogonic moment’ can be imagined, the fragile moment when ‘nothing’ turns into ‘something’.
Shifting between light and darkness, abstraction and figuration, SUN-SET evokes bastard worlds, in a theatre hall that seems to be alive itself. An intimate performance that brings you to - or just beyond - the limits of your imagination.
...
In Dreamline Mothership INC an enchanted stewardess takes the audience on a journey in the mothership – a guided meditation, a fantastic sci-fi voyage into the cosmic womb, the mythological origin of the universe.
On the mothership the audience is transported through a cosmic vaginal pathway, passing several portals which open and deepen the journey towards one’s own intimacy and pleasure in order to generate a dream conception. The cosmic womb is interpreted as a black hole in the universe from which all dreams can be conceived and birthed into being. The story unfolds through spoken text, which sometimes becomes a song and a dance, accompanied by a celestial soundtrack created by Laryssa Kim. Inspired by somatic practices, where one is often...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
In Dreamline Mothership INC an enchanted stewardess takes the audience on a journey in the mothership – a guided meditation, a fantastic sci-fi voyage into the cosmic womb, the mythological origin of the universe.
On the mothership the audience is transported through a cosmic vaginal pathway, passing several portals which open and deepen the journey towards one’s own intimacy and pleasure in order to generate a dream conception. The cosmic womb is interpreted as a black hole in the universe from which all dreams can be conceived and birthed into being. The story unfolds through spoken text, which sometimes becomes a song and a dance, accompanied by a celestial soundtrack created by Laryssa Kim. Inspired by somatic practices, where one is often...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
Playwright and visual artist Dolores Bouckaert stages Mary Ventura and the Ninth Kingdom by Sylvia Plath, a dark story about female agency and independence, about life and death.
The intimate performance Everybody has to leave home sometime focusses on the choices Mary Ventura faces. As a young woman, Mary is placed on a train by her parents for a journey with no stops and to an unknown destination. She feels anxious and afraid, she does not want to go along with the others on the train. One special passenger points out that she does have a choice: ‘Pull the emergency brake Mary!’ Mary does not go along with the others and instead chooses the unknown. Can we also pull the emergency brake? How can you break...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
Playwright and visual artist Dolores Bouckaert stages Mary Ventura and the Ninth Kingdom by Sylvia Plath, a dark story about female agency and independence, about life and death.
The intimate performance Everybody has to leave home sometime focusses on the choices Mary Ventura faces. As a young woman, Mary is placed on a train by her parents for a journey with no stops and to an unknown destination. She feels anxious and afraid, she does not want to go along with the others on the train. One special passenger points out that she does have a choice: ‘Pull the emergency brake Mary!’ Mary does not go along with the others and instead chooses the unknown. Can we also pull the emergency brake? How can you break...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
In newpolyphonies 4 singers of HYOID join forces with 15 performers in a curious high mass about little differences with big impact.
Manyfold, meditative, monstrous, machinic, Messianic, mimetic, mesmerizing, minuscule, mighty, methodical, momentary, mystical.
Inspired by insects, climate marches and airplane traffic coming to a halt, the leitmotif in this concert/performance is not the loud collective chant, but the experience that each individual - like a link in a chain - can set a vortex of sounds in motion.
The process for newpolyphonies has also resulted in the installation newpolyphonies rewired, an immersive experience where 20 speakers create a moving landscape...
In the beginning there was only shapeless darkness. For centuries man has been telling himself various stories about what came next: the birth of the world. In SUN-SET Ezra Veldhuis, Bosse Provoost and Oshin Albrecht try to find out how a ‘cosmogonic moment’ can be imagined, the fragile moment when ‘nothing’ turns into ‘something’.
Shifting between light and darkness, abstraction and figuration, SUN-SET evokes bastard worlds, in a theatre hall that seems to be alive itself. An intimate performance that brings you to - or just beyond - the limits of your imagination.
...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
In Dreamline Mothership INC an enchanted stewardess takes the audience on a journey in the mothership – a guided meditation, a fantastic sci-fi voyage into the cosmic womb, the mythological origin of the universe.
On the mothership the audience is transported through a cosmic vaginal pathway, passing several portals which open and deepen the journey towards one’s own intimacy and pleasure in order to generate a dream conception. The cosmic womb is interpreted as a black hole in the universe from which all dreams can be conceived and birthed into being. The story unfolds through spoken text, which sometimes becomes a song and a dance, accompanied by a celestial soundtrack created by Laryssa Kim. Inspired by somatic practices, where one is often...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
Playwright and visual artist Dolores Bouckaert stages Mary Ventura and the Ninth Kingdom by Sylvia Plath, a dark story about female agency and independence, about life and death.
The intimate performance Everybody has to leave home sometime focusses on the choices Mary Ventura faces. As a young woman, Mary is placed on a train by her parents for a journey with no stops and to an unknown destination. She feels anxious and afraid, she does not want to go along with the others on the train. One special passenger points out that she does have a choice: ‘Pull the emergency brake Mary!’ Mary does not go along with the others and instead chooses the unknown. Can we also pull the emergency brake? How can you break...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
At the occasion of 7 years Lecture For Every One, Sarah Vanhee made a performance with stories and memories, looking at the places where, today, we are supposed to be “together.”
For the past seven years of her life, Vanhee was an intruder. Unasked and uninvited, she walked into meeting-rooms, and started to speak about how we live together as human beings, about society as a co-creation by every-one. One could see her intervention as a bomb or as a gift. People were surprised, shocked, moved, angry. With her guerilla-speech, she tried to transform any meeting into a political moment. She surprised more than 10.000 people this way, interrupting their daily routines by asking big and small questions about life. She...
In Tactile Quartet(s), Vera Tussing builds on her longstanding choreographic practice in exploring the sensory potentialities of the audience. The piece puts the string quartet Quatuor MP4 in communication with a quartet of dancers – Yoh Morishita, Zoltán Vakulya, Esse Vanderbruggen, Vera Tussing – inviting the audience into a deeply layered and multi-sensory encounter between movement and sound.
What happens when we take the movements of a string quartet seriously as a choreography, and dance along? The four musicians play passages from canonical works by Franz Schubert and Florence Price, as well as contemporary works by Georg Friedrich Haas, Michael Picknett, and Caroline Shaw. As they play, the musicians engage in one-on-one tactile encounters with the audience, creating physical interaction. Everything arises from touch – a bow on a string, an arm on a shoulder, an acoustic sensation on your skin. The dancers mediate the...
In Tactile Quartet(s), Vera Tussing builds on her longstanding choreographic practice in exploring the sensory potentialities of the audience. The piece puts the string quartet Quatuor MP4 in communication with a quartet of dancers – Yoh Morishita, Zoltán Vakulya, Esse Vanderbruggen, Vera Tussing – inviting the audience into a deeply layered and multi-sensory encounter between movement and sound.
What happens when we take the movements of a string quartet seriously as a choreography, and dance along? The four musicians play passages from canonical works by Franz Schubert and Florence Price, as well as contemporary works by Georg Friedrich Haas, Michael Picknett, and Caroline Shaw. As they play, the musicians engage in one-on-one tactile encounters with the audience, creating physical interaction. Everything arises from touch – a bow on a string, an arm on a shoulder, an acoustic sensation on your skin. The dancers mediate the...
For Begüm Erciyas’ new performance Forest Silent Gathering, a group of audience members meet inside a forest at sunset and follow a soundtrack through headphones. An audio-social architecture is created, in which one can possibly be alone together. Changing distances invite to find new proximities. Absent figures become protagonists. As the communal space takes shape and transforms, Forest Silent Gathering makes us reflect on the bonds between people, forests and histories. What is it that keeps us together?
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
With In-depth, Gaëtan Rusquet continues his explorationof the body-image relationship, this time in co-creation with Damien Petitot.
In-depth is a performative installation, activated by two performers, putting into play the relationship between the body, the screen and their multiple presences. The performance questions what remains of us physically when we present ourselves through communication networks, data flows and technological tools, in a desire to reach out, to touch or to be touched by others.
Through touch, the performers are questioning the materiality of their bodies, the screens, the cameras, the video and its transformations. On the...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
In Tactile Quartet(s), Vera Tussing builds on her longstanding choreographic practice in exploring the sensory potentialities of the audience. The piece puts the string quartet Quatuor MP4 in communication with a quartet of dancers – Yoh Morishita, Zoltán Vakulya, Esse Vanderbruggen, Vera Tussing – inviting the audience into a deeply layered and multi-sensory encounter between movement and sound.
What happens when we take the movements of a string quartet seriously as a choreography, and dance along? The four musicians play passages from canonical works by Franz Schubert and Florence Price, as well as contemporary works by Georg Friedrich Haas, Michael Picknett, and Caroline Shaw. As they play, the musicians engage in one-on-one tactile encounters with the audience, creating physical interaction. Everything arises from touch – a bow on a string, an arm on a shoulder, an acoustic sensation on your skin. The dancers mediate the...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
With In-depth, Gaëtan Rusquet continues his explorationof the body-image relationship, this time in co-creation with Damien Petitot.
In-depth is a performative installation, activated by two performers, putting into play the relationship between the body, the screen and their multiple presences. The performance questions what remains of us physically when we present ourselves through communication networks, data flows and technological tools, in a desire to reach out, to touch or to be touched by others.
Through touch, the performers are questioning the materiality of their bodies, the screens, the cameras, the video and its transformations. On the...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
For Begüm Erciyas’ new performance Forest Silent Gathering, a group of audience members meet inside a forest at sunset and follow a soundtrack through headphones. An audio-social architecture is created, in which one can possibly be alone together. Changing distances invite to find new proximities. Absent figures become protagonists. As the communal space takes shape and transforms, Forest Silent Gathering makes us reflect on the bonds between people, forests and histories. What is it that keeps us together?
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
In Voicing Pieces, one’s own voice is staged to become the protagonist. In the intimacy of an isolated sound booth, guided by a simple score, the audience becomes spectator of their own voice.
The act of speaking and simultaneously hearing one's own voice turns into a theatrical and choreographic experience, sculpted anew with each individual interpretation of the score. The voice becomes a place for action, a spectacle or a surprise. Isn't one's own voice always inauthentic and uncanny? Who is speaking, when one's own voice speaks? Rather than recognizing oneself in the stranger, Voicing Pieces is an invitation to recognize the stranger in oneself....
Lecture-performance (60 min, English spoken)
A voice is as singular as a fingerprint. When we scream, we catapult ourselves inside out, revealing that dimension of ourselves in between body and mind, maybe closest to our soul. “To open our mouth and let out sounds from a hole in the middle of our face”, revealing both our strongest power and deepest vulnerability.
In collected screams, Sarah Vanhee shares different uttered and non-uttered screams from scientific, philosophical, mythological, artistic and political backgrounds,...
A mold refers to two very different things: it is a type of fungus but is also a hollow container to cast a specific form or pattern. As a fungus, a mold functions as a mycelial network that grows in ways that seem uncontrollable: connecting, colonizing, infecting, digesting, fruiting and producing spores. As a pattern, a mold is a matrix, a form that shapes malleable matters. MOLD wants to stage the conflict between spontaneous proliferation and casting, between two different logics in the same body.
Drawing on a variety of practices - mycology, fashion, fermentation, dance and sculpture - MOLD approaches the theater machine as a multiplicity of bodies. We want MOLD not only to be a performance but also a farm. An environment where dance, objects, audience, light, music, scents and costumes interact as living cultures. A garden dedicated to cultivating, abandoning, inoculating, braiding, duplicating, sprouting, warming up and decaying.
Watch a video interview with Sara Manente about MOLD...
T-Dance is a piece exploring touch and connection. How does tactility, with all its symbolic power, fragility and humour attain meaning? How are we connected even when separated by distance, time or context? How do we touch without touching?
Four dancers explore empathy and physical memory, questioning the limits of the body, and the mind’s connections. Without ever leaving their seats, the audience are called to inhabit the same imaginative space as the performers, in an invitation to participate in an empathetic, imagined touch.
...
For Begüm Erciyas’ new performance Forest Silent Gathering, a group of audience members meet inside a forest at sunset and follow a soundtrack through headphones. An audio-social architecture is created, in which one can possibly be alone together. Changing distances invite to find new proximities. Absent figures become protagonists. As the communal space takes shape and transforms, Forest Silent Gathering makes us reflect on the bonds between people, forests and histories. What is it that keeps us together?
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...
In his solo performance Being Moved, Simon Mayer explores different states of „being moved”. What moves us? What does it mean to be moved? How can we let go and surrender to the present moment?
Together with the sound designer Pascal Holper, Simon Mayer investigates the manifold manifestations of a universal folk dance and finds an answer in breathing - as a necessity and as a practice. Being Moved is a performance of transgression and transformation that immerses us in the unknown, where breath becomes movement and vice versa. A dance that inspires us to tap into our full expressive potential - based on spontaneous creativity instead of fixed rules -. A dance that explores what makes us move and what moves us. To celebrate our...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
A mold refers to two very different things: it is a type of fungus but is also a hollow container to cast a specific form or pattern. As a fungus, a mold functions as a mycelial network that grows in ways that seem uncontrollable: connecting, colonizing, infecting, digesting, fruiting and producing spores. As a pattern, a mold is a matrix, a form that shapes malleable matters. MOLD wants to stage the conflict between spontaneous proliferation and casting, between two different logics in the same body.
Drawing on a variety of practices - mycology, fashion, fermentation, dance and sculpture - MOLD approaches the theater machine as a multiplicity of bodies. We want MOLD not only to be a performance but also a farm. An environment where dance, objects, audience, light, music, scents and costumes interact as living cultures. A garden dedicated to cultivating, abandoning, inoculating, braiding, duplicating, sprouting, warming up and decaying.
Watch a video interview with Sara Manente about MOLD...
Critical Techno is a trance lecture dance meditation — a two-hour collective journey in-between listening, dancing, words, sounds, beats, sweat, constellations, and bodies in space towards an unknown destination.
In this project, we swim through a sea of voices and sounds to understand and unfold their momentary and collective meaning. Listening in relation to our body language becomes the energetic architecture that we align to with the energetic structure of our bodies, eventually channeling the words we perceive through the movements of our physical bodies. Theoretical texts are combined with poetic texts and somatic scores, creating a journey where listening becomes an embodied experience, with a desire to give voice to the underrepresented —...
During Dossier Writing Days, artists can come work on their applications with support in many forms by colleagues as well as experts from detheatermaker, Hiros, KWP, Caravan Production and workspacebrussels.
In the run-up to an approaching deadline, we gather a number of artists with the same goal. Experts from detheatermaker, Hiros, KWP, Caravan Production and workspacebrussels are present, ready to answer all questions. We provide coffee, a table, a listening ear and plenty of pep talks and know-how - the artists provide a tight plan, a computer and plenty of dossier motivation.
Keep an eye on our Facebook and Instagram pages for new dates.
Spoken languages Dutch, English, French, a.o
...
For Begüm Erciyas’ new performance Forest Silent Gathering, a group of audience members meet inside a forest at sunset and follow a soundtrack through headphones. An audio-social architecture is created, in which one can possibly be alone together. Changing distances invite to find new proximities. Absent figures become protagonists. As the communal space takes shape and transforms, Forest Silent Gathering makes us reflect on the bonds between people, forests and histories. What is it that keeps us together?
During Dossier Writing Days, artists can come work on their applications with support in many forms by colleagues as well as experts from detheatermaker, Hiros, KWP, Caravan Production and workspacebrussels.
In the run-up to an approaching deadline, we gather a number of artists with the same goal. Experts from detheatermaker, Hiros, KWP, Caravan Production and workspacebrussels are present, ready to answer all questions. We provide coffee, a table, a listening ear and plenty of pep talks and know-how - the artists provide a tight plan, a computer and plenty of dossier motivation.
Keep an eye on our Facebook and Instagram pages for new dates.
Spoken languages Dutch, English, French, a.o
...
A mold refers to two very different things: it is a type of fungus but is also a hollow container to cast a specific form or pattern. As a fungus, a mold functions as a mycelial network that grows in ways that seem uncontrollable: connecting, colonizing, infecting, digesting, fruiting and producing spores. As a pattern, a mold is a matrix, a form that shapes malleable matters. MOLD wants to stage the conflict between spontaneous proliferation and casting, between two different logics in the same body.
Drawing on a variety of practices - mycology, fashion, fermentation, dance and sculpture - MOLD approaches the theater machine as a multiplicity of bodies. We want MOLD not only to be a performance but also a farm. An environment where dance, objects, audience, light, music, scents and costumes interact as living cultures. A garden dedicated to cultivating, abandoning, inoculating, braiding, duplicating, sprouting, warming up and decaying.
Watch a video interview with Sara Manente about MOLD...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
This work springs from the desire to develop a dance performance within the habitat of an already existing dance style, taking the exploration of its intrinsic complexity as the departure point for the elaboration of a choreographic object. Farmer Train Swirl – Étude is a kinesthetic and subjective investigation of the field of House dance – a style born in the clubs of Chicago & New York in the early eighties.
The making of this solo prolongs a 2-year process in which Cassiel Gaube mainly dedicated himself to learning and practicing House dance, in Paris' and New York's lively club scenes. Sampling, appropriation & transformation are at the core of this dance form, which is in itself a synthesis and a development of other dance styles : a.o. Hip hop, Salsa, Rasta dancing, Tap dance. Embracing these principles, the artist's undertaking is here understood, not so much as a creation ex nihilo, but rather as the work of sensibly navigating this...
In conditions of solitude – as for travelers or prisoners – people have often resorted to writing letters as a means of communication with their closests, revealing the very sensation of being in isolation. Sam Melville has done so from the Attica prison, where he was held on charges of sabotaging public property in protest of the Vietnam war, and where he would die during the Attica prison riots in 1971.
His and others' voices in similar conditions connect the sensations of loneliness and the one of determination. In her artistic works Begüm Erciyas often uses sound and instruction to accompany the spectator in an experience that is deeply solitary and yet collective. For Letters from Attica she imagines for the first time a project for the public space. Multiple voices give a personal form to sound waves. They inscribe words in public space and generate unforeseen sentences. As a first encounter with the city, Letters from Attica is a search...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
You appeared in my mind on the dance floor last night. You were smiling back at me. Mom sings in the living room. The radio is on. “How can I not admire you… if all the time I carry you in my mind, in my dreams and in my heart”. Love, my head is spinning.
The romantic music of various Spanish-speaking artists as far back as the 1960s is popular again... now these songs fuel the nightlife of Costa Rica in the early 2010’s. Plancha, as the genre was later called, revived the nostalgic music that our mothers and grandmothers listened to while doing housework (música de plancha literally translates into ‘music for ironing clothes’). The songs are full of theatricality, often celebrating the fantasy and suffering of romantic love, closely linked to telenovela culture and to the art of...
Initiated back in 2016, the long-term research we dreamt of utopia and we woke up screaming (named after writer Roberto Bolaño’s ‘First Infrarealist Manifesto’) takes on different forms and unfolds with each episode in the fashion of a radio series. By either immersing themselves within a live radio documentary show, or by activating a performative installation, the audience bares witness to the processes of conception, production and broadcasting of two carefully scripted works. The audience becomes both the contemporary listener and broadcaster. They carry the voices of past struggles and avant-garde propositions. In this way, they are invited to re-enact the solidarity with and between otherwise invisible actors of global history.
Against the backdrop of the Cold War's bi-polar tensions during the 1960s and 1970s, militants from all the continents convened in Algiers and witnessed a forging of a 'third way', other possible futures. The Algerian capital hosted everyone from national liberation movements, political exiles, rebels and disillusioned Westerners. Drawing on the liberation movements' broadcasts aired by the Algerian national broadcasting company (RTA), the polyglot and polyphonic productions echo Yasmina Reggad's journey through the worlds of ideas and ideals...
In his solo performance Being Moved, Simon Mayer explores different states of „being moved”. What moves us? What does it mean to be moved? How can we let go and surrender to the present moment?
Together with the sound designer Pascal Holper, Simon Mayer investigates the manifold manifestations of a universal folk dance and finds an answer in breathing - as a necessity and as a practice. Being Moved is a performance of transgression and transformation that immerses us in the unknown, where breath becomes movement and vice versa. A dance that inspires us to tap into our full expressive potential - based on spontaneous creativity instead of fixed rules -. A dance that explores what makes us move and what moves us. To celebrate our...
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...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
In the beginning there was only shapeless darkness. For centuries man has been telling himself various stories about what came next: the birth of the world. In SUN-SET Ezra Veldhuis, Bosse Provoost and Oshin Albrecht try to find out how a ‘cosmogonic moment’ can be imagined, the fragile moment when ‘nothing’ turns into ‘something’.
Shifting between light and darkness, abstraction and figuration, SUN-SET evokes bastard worlds, in a theatre hall that seems to be alive itself. An intimate performance that brings you to - or just beyond - the limits of your imagination.
...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
A mold refers to two very different things: it is a type of fungus but is also a hollow container to cast a specific form or pattern. As a fungus, a mold functions as a mycelial network that grows in ways that seem uncontrollable: connecting, colonizing, infecting, digesting, fruiting and producing spores. As a pattern, a mold is a matrix, a form that shapes malleable matters. MOLD wants to stage the conflict between spontaneous proliferation and casting, between two different logics in the same body.
Drawing on a variety of practices - mycology, fashion, fermentation, dance and sculpture - MOLD approaches the theater machine as a multiplicity of bodies. We want MOLD not only to be a performance but also a farm. An environment where dance, objects, audience, light, music, scents and costumes interact as living cultures. A garden dedicated to cultivating, abandoning, inoculating, braiding, duplicating, sprouting, warming up and decaying.
Watch a video interview with Sara Manente about MOLD...
What if the theatre were the belly of a huge whale? Or no, wait – a futuristic, completely unknown ecosystem? Ezra Veldhuis and Bosse Provoost deploy the theatre’s full technical apparatus to evoke an environment that echoes both Jeff VanderMeer’s eco science fiction and Inger Christensen’s poetry.
In Indoor Weather, the lighting, sound and fly bars are on an equal footing with the human performers. All of these elements are involved in a mysterious game whose rules lie just beyond our comprehension. A moldy green glow suddenly falls upon the stage and then spreads like an oil slick through the theatre; an actor recites passages from it, the monumental cycle of poems by the Danish poet Inger Christensen from 1969; soundscapes swell and recede in the space as if coming from high and low pressure areas. Who is influencing whom in this...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
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...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
Once a month during openoffice we throw open the doors or our workings, each time at a different cultural location in Brussels. Everyone who is looking for advice on projects in the performing arts, or who would like to exchange experiences, is welcome. We discuss specific themes during an information session/workshop and then organise a moment for all possible questions. Keep an eye on our agenda or facebook page for new dates!
With the support of cultuurculture.be
Spoken languages Dutch, English, French,...
Soirée d’études was born out of Cassiel Gaube’s passion for the vocabulary of house dance, of which he explores the potential intersections with the compositional approaches of contemporary dance.
Conceived as a series of short, interconnected pieces, this choreographic soirée (evening) is a pas de deux for three, with the dancers passing the floor to each other to compose different duos.
Underpinned by a process of mapping out the kinaesthetic possibilities of this practice, Soirée d'études deconstructs the lexicon of house dance to better play with it. From its characteristic groove to the various forms of footwork, the different aspects of this style are successively examined, brought into light and honored.
An étude, in the...
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