English performances in Monty

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5 October 2017 | Lemm&Barkey& Needcompany | FOREVER 

When the composer Gustav Mahler was diagnosed with a fatal heart disease, he wrote to a friend:

‘I have lost everything I have gained in terms of who I thought I was, and I have to learn my first steps again like a newborn.’

It was in this mood that Mahler wrote ‘Das Lied von der Erde’. The last of these songs, ‘Der Abschied’, was to be one of his most personal works, one that reflected his state of mind. Man’s struggle with his mortality, in contrast with nature, which is eternal and constantly renewing itself.

In FOREVER, Grace Ellen Barkey raises the same questions as Mahler: ‘No one can sustain constant praise of life. Death or, rather, the finiteness of human life deserves a song or a dance too.’

The song, and also the orchestration, is sung in an intimate setting as a recollection by Maarten Seghers, backed up by the dancers and the installation. The score of Mahler's 'Der Abschied' is visible in the choreography of FOREVER.

17 November 2017 | La Conquesta del Pol Sud | Claudia 

Claudia is the second show of the trilogy about History and Identity, made by  La Conquesta del Pol Sud.

Claudia Victoria Poblete Hlaczik lives in Buenos Aires, she works as an IT technician and is passionate about science fiction. Claudia apparently lives a 'normal' life but this apparence hides a very particular background. This young woman was educated in the values of the military environment until, when she was 21, she discovered that her real parents were  ‘desaparecidos’ and that she lived an invented life in a family which had been imposed on her.

Her case led to an important turning point in Argentina because it meant the beginning of the end of the military leadership’s impunity.

Claudia’s life experience, which is communicated by herself on stage, is the primary material this theatrical documentary is based on.

We are interested in exploring the relationship between individual and collective issues. How do these different levels interact? What do some individuals’ experiences have to do with us? What is the meaning of words like revolution, memory, and education today?

23 November | Pitcho Womba Konga | Kuzikiliza

Kuzikiliza – “making yourself heard” in Swahili – is a multilingual, interdisciplinary performance that causes communication and its mechanisms to wobble. Pitcho Womba Konga’s starting point was Patrice Lumumba’s speech to mark Congo’s independence on 30 June 1960 – a speech that is still topical today. For surely behind the independence of a country lies the emancipation of an entire people; and surely, behind the emancipation of a people, lies the independence of every human being? How do we reconcile the present and the past while the process of decolonisation is still ongoing?

concept, creation, performance Pitcho Womba Konga | cocreation en coperformance Karim Kalonji en Joost Maaskant | direction Mike van Alfen | production Skinfama | coproduction KVS en ARSENAAL/LAZARUS | in collaboration with Kultuurfaktorij Monty, De School van Gaasbeek, Pianofabriek/Citylab en Mestizo Arts Festival | with the support of VGC Brussels

1, 2 december | Maatschappij Discordia en ‘t Barre Land | Pointless International brings Poly-Interpretability | Belg. première 

1, 2 december | Maatschappij Discordia en ‘t Barre Land | Pointless International brengt Poly-Interpretability | Belg. Première | Language no problem

imagine, three clowns

acts, some more than two hundred years old

still hilarious, wirry and compelling

imagine a circus of clowns

imagine to be or not to be


with love

coco, buster, joey and sugar

‘It’s not only to laugh, but also admirable skillful and very clever thought about.’(de Volkskrant ****)

‘The four of them are grandiose: tragic and laughable, provocative and admirable, chaotic and insane. (Parool ****)

‘It’s a hurricane, this sweet war of laughter.’ (Theaterkrant ****)








15 January 2016 | Florentina Holzinger & Vincent Riebeek / CAMPO | Schönheitsabend | theatre


Florentina Holzinger and Vincent Riebeek have been creating performances together for some years, resulting in two duets, Kein Applaus für Scheisse (2010) and Spirit (2012), and a group performance, Wellness (2013). Their paths separated for a short time (they both created a performance on their own), but now they unite again for a new duet: Schönheitsabend.

In Schönheitsabend, Holzinger and Riebeek appropriate early 20th century orientalism, which permeates this performance about power relations, gender roles, violence and sex with madness, ecstasy and explicit eroticism.

For this performance, one point of departure was the 1910 ballet Shéhérazade and the desire of dance couples from the beginning of the 20th century to re-invent dance (and themselves) through exotic fictions. Also the personal life of the famous dancers from the ballet and modern dance tradition, think of (queer) dancing couples as Vaslav Nijinsky and Ida Rubinstein or Ted Shawn and Ruth St. Dénis triggered their imagination.

Schönheitsabend is a show in three parts, as the classic ballet tradition prescribes. The titles of these parts “Tänze des Lasters”, “Tänze des Grauens' & “Tänze der Ekstase” (dances of vice, horror and ecstasy), are inspired by a collection of writings from the infamous dance couple Anita Berber and Sebastian Droste, who, like Vincent and Florentina, had been working on new concepts of beauty and imbued their performances with senses of madness, ecstasy and explicit eroticism. In the three acts of Holzinger and Riebeek’s performance romance, reality and dream succeed each other, looking for a balance.

by & with Florentina Holzinger & Vincent Riebeek | dramaturgy Eike Wittrock  | costumes Valerie Hellebaut  | graphic design back drop  Joeri Woudstra  | music & stage design Vincent Riebeek  | outside eye Renée Copraij  | technical Anne Meeussen  | production CAMPO Gent, Künstlerhaus Mousonturm Frankfurt/Main, Julius-Hans-Spiegel-Zentrum/Theater Freiburg  | co-production Internationales Sommerfestival Hamburg, ImPulstanz Wien, Spring Utrecht, Sophiensaele Berlin   | executive production CAMPO Gent  | supported by Tanzfonds Erbe – an initiative of the Federal Cultural Foundation of Germany & BesteBuren 

28, 29 January 2016 |Ahilan Ratnamohan & Star Boy Collective | Reverse Colonialism | performance | coproduction Monty


Reverse Colonialism is an intimate performance in which two migrants, from Cameroon and Nigeria, present a European audience with a controversial plan to tempt European Africans back to their motherlands. Through this the two performers, Aloys Kwaakum and Etuwe Bright Junior, voice their often-unheard opinions about European migration politics; the audience hears how Africans experience their integration into Europe. They tackle the difficult re-integration of Africans following a European adventure and the problematic brain drain stagnating the development of Africa. Their unorthodox conclusion is that it will be better, for Europe so well as Africa, if the migrants return. Using the concept of Liberia, the country created for ex-slaves from America, Aloys and Junior formulate their plan for a return; a new country in the heart of Africa where all former migrants from Europe can return to in order to combine their learned expertise for the betterment of Africa. Their visionary ideas are theatrically grounded with personal insight into the European-African politic, promotional videos for African Europeans and ‘de-motivational’ videos for Africa. 

In the emerging style of new performance troupe, Star Boys Collective, and Ahilan Ratnamohan who have been collaborating in Antwerp’s since 2013, Reverse Colonialism breaks the theatre rules open in order to undertake a dialogue with its audience. Reverse Colonialism builds upon aesthetics and thematics which the group have touched upon in previous productions Michael Essien I want to play as you… and Star Boy Productions, but attempts to push the relationship between the audience and performer one step further assuming a workshop style, whereby the audience member becomes a participant. The audience is forced to confront their true political stance.

direction Ahilan Ratnamohan | makers Ahilan Ratnamohan, Aloys Kwaakum, Etuwe Bright Junior | dramaturgy Kristof Persyn | production Kultuurfaktorij Monty| supported by Stad Antwerpen

5, 6 February | De Utvalgte | Skuggar (Shadows) | performance

Shadows has its own universe, open, clear and at the same time disturbing and enigmatic. ‘Everything is now and everything is always’. The fact that time and space are dissolved allows me as a reader to recognize my own unease. They exist in an immaterial room in a state of zero, where memories of a life together is the only evidence. The text challenges to ask existential questions and wonder who we are and how we leave traces in each other’s lives.”- Director Kari Holtan.

De Utvalgte set up Shadows at the Black Box Theatre in February 2009. The production was invited to the Bergen International Festival the same year and has since been on tour in Norway and abroad.

Shadows is the first written play that De Utvalgte set up in its entirety. Jon Fosse’s writing, however, has followed with De Utvalgte since 1995 in the performance “Erosion”. Text material in this performance was based on several of Fosse’s novels. This was before he had his breakthrough as a dramatist. The meeting with his lyrics then became a harrowing experience which created a fascination that has been there since. The time was ready to realize a wish to work with his text universe again when we produced Shadows in 2009.

The drama seems to unfold in an abstract landscape that stands in strong contrast to the text physical quality. The outer storyline is almost absent. The characters are interconnected in various ways: Child-parenting, marriage and infidelity. It is now buried as emotional memories come to the surface as sensual experiences. It is also unacceptable and frightening because there is no longer a motive for action. In this play all of the text is performed by children from 6 to 10 years, exposed in video projections. During the production period De Utvalgte video-recorded the children’s faces while they were instructed to perform the text of the various roles. This footage was later edited to be projected at six cocoon-like heads casted in plastic. On the stage four elderly people are wandering without saying a word.

Kari Holtan was nominated for The Hedda Award 2009 for best director for Shadows.

18 February 2016 |CREW & Urland | EXPLORER/Prometheus unchained | theatre


EXPLORER/Prometheus unchained is the new staged performance by CREW and Urland, a collective of young makers, in collaboration with Productiehuis Rotterdam and premiered at Krijn Boon Studio, Rotterdamse Schouwburg (NL).

EXPLORER/Prometheus unchained is the centerpiece of'the Internet Trilogy', a series on the rise, expansion and limitless promise of the internet. 1994. The World Wide Web. The point of no return. We are ON. Unchained. We are FREE.

This performance is a joint effort of two generations, CREW/B.C. (Before Computer) and Urland/A.C. (After Computer) , exploring new possibilities given by the internet. This will arguably be the first theatrical production to use 3D motion capture in real-time onstage. The live-performance is re-fleshed and transformed in the moment. With recent inertial technology the human bodies of the actors become data and this transformation expands the very idea of the psychical body to new limits.

The interest in mediatized artforms and the creation of new ways of experiencing theatre is embedded in the artistic canon of CREW and continues in this challenging collaboration.

EXPLORER/Prometheus unchained allows the audience to cross the border between performance space and spectating space. It offers a RE-ENACTMENT of the initial promises of 1994 and it provides a glimpse into the future.


concept/cast Eric Joris, Ludwig Bindervoet, Thomas Dudkiewicz, Marijn Alexander de Jong& Jimi Zoet | dramaturgy Florian Hellwig | technology Koen Goossens (CREW) | technical support Siemen van der Werf, Olmo Claessens | internship technology Rens Royaert| production manager Vicky Vermoezen (CREW) & Sarah Steeman (Urland) | production Productiehuis Rotterdam& CREW| in collaboration with Buda Kunstencentrum, EDM (Expertisecenter for digital media) , Dreamspace (FP7 ICT collaboration) , University Hasselt - iMinds and Natural Point - Optitrack| with the support of Fonds 21, BesteBuren, Fonds Podiumkunsten en Prins Bernhard Cultuurfonds

3 March 2016 |Martin Schick | Low Budget series | performance | Belgian premiere 


Following the logic of X Minutes and Holiday On Stage, the swiss culture export star Martin Schick is dealing again with alternative production processes, staging them at once. This time, instead of searching for co-producers and subsidies, he limits himself to the lowest possible outlay. There he refers not only to budget cuts, the financial crisis and the whining of theatre venues to not have enough money, but also to his own position as a part of spoiled and overpriced swiss artists, depending on subsidization to be competitive. The effect of his task is not only a beautifully staged fragility within an unspectacular set or an lyrical self-written description of his work, but mainly the focus on content rather than on aesthetics. Within this setting, again, he is becoming so glamorously contemporary. The theatre transforms to a potential experiential room, as the audience might have to imagine or replace the missing decoration, the technical staff or the non-existing beautiful dancers. ‚Low Budget Series’ contains several simple solo performances, including ‚Halfbreadtechnique‘, which already has been performed all over the world, while other works are rather new, constantly growing by performing, in close dialogue with the audience.

Suiting the neglection of staff, equipment, luxury accomodation and transportation, the artist renounced to provide a fancy picture for publicity, hoping you would not mind and still come to see the show.

MARTIN SCHICK is an international performance artist from Switzerland, living in Berlin and/or in a swiss mountain cottage. After his studies in a private ballet school, he was educated in theatre at the Highschool of Arts in Berne. Since 2007 he works on scenic plays in the independent dance and theatre context and got quite succesful. He is considering the theatre as a place of permanent transformation, looking out for the awkward, impure and contradictional, aiming to interfere conventions and standardisations within the theatre and in everyday life. He lately tends to be more into spatial practice by developing art formats and longterm projects. Recently, he founded the label ‚General Performances, is about to buy a military bunker in the swiss mountains for an WORLD ART FAIR and constructs a LEARNING CENTER for postcapitalist ideas, sponsored by the Nestlé Fondation of Art. Beside his ‚travelling practice‘ with another grant, he will contribute new works to ART BASEL HONGKONG and MANIFESTA 11 in 2016.

by and with Martin Schick | residence Kultuurfaktorij Monty

10, 11 March 2016 | Juan Navarro | Before Paradise


This scenic practice comes from a very basic and stimulating wish. My father Rafael Navarro is 77 years old,  he spent his life working in an office as an agronomy engineer, and now he wants to be on stage before he dies. It’s not that he wants to talk about anything in particularly, it’s just an irrational and instinctive desire of simply being on stage. And that’s the point to start  from where we (Gonzalo Cunill and me) will accompanied and  help Rafael in the   adventure, as a kind of archaeological investigation about the significance of being and “dying” on stage, the audience, the scenic tricks, in fact all that can make us rediscover and understand the scene, maybe from a very ingenuous attitude, somewhere close to transparency and emptiness.

concept and direction Juan Navarro | interpretation and creation Rafael Navarro, Gonzalo Cunill, Juan Navarro | in association with Oscar Cornago



18, 19 March 2016 | Maarten Seghers | O - Or The Challenge Of This Particular Show Was To Have Words Ending In O | performance | premiere 

Fritz Welch the shaman supreme, Nicolas Field the mad drummer, Simon Lenski the master cellist and the immovable time-bomb Mohamed Toukabri bring themselves face to face with each other in O – or The Challenge of This Particular Show Was to Have Words Ending in O. Maarten Seghers wrote this invocative song for these men, about merry beheadings, the rowdiness of consolation, the relative nature of content and the future of tap-dancing. A struggle between dogged rhythmicality and melodic syrup in the ritualisation of the selling of the truth.

A performance that runs on musicality and sculpturality. Horror, funk, smell, rhyme and magic, fuelled by 5 bodies, flags, drums, English flutes, candles and rolls of carpet.

Maarten Seghers makes objects, installations, performances and music. In the performance ‘WHAT DO YOU MEAN WHAT DO YOU MEAN AND OTHER PLEASANTRIES’ (2014) he smartly and inimitably exposed art practices with apparent absurdity and with beauty and hilarity ploughed through the inevitability of our woes. This feast of feelings contained a human life full of love and tragedy. For this production he was nominated for the 2015 Prix Jardin d’Europe for choreographers.

creation Maarten Seghers | with Nicolas Field, Simon Lenski, Maarten Seghers, Mohamed Toukabri , Fritz Welch | production Needcompany production | in association with Kultuurfaktorij Monty, ImPulsTanz | with support from the Flemish authorities


23, 24 March 2016 | Benny Claessens| Hello Useless - for W. and friends| theatre

After spending a few years at Münchner Kammerspiele, Benny Claessens is back in Belgium, working at NTGent. Before making a group performance there, he will first create a solo at CAMPO. Hello useless – for W and friends will be about standing still. About taking the time to see things clear again.

 concept, direction and performance Benny Claessens | outside eye Alain Platel | production CAMPO | coproduction NTGent

28 May 2016 | Agrupación Señor Serrano | Birdie| theatre and video

Birdie is a project that tries to analyze this image from every possible angle: formal, technical, semiotic, anthropologic, sociologic. Trying to understand its appeal, to deconstruct its force.
But Birdie is also a project that starting from the moment that the picture captures is going to project its tentacles to the past and future of some subjects present in the image (Where does the guy with the red sweater on the fence come from? Where is he going? What’s the story of the golf ball? What about the normal live of the golf players? What’s the policeman between the trees looking at?
More questions: what would happen if instead of a golf course in front of the fence, we had a supermarket? What if we had a common family living room, with all the family members watching this picture on the TV News? What if there was a woman reading a Schopenhauer’s book in a public library? A guy checking his FB account on his cellphone while smoking a cigarette in a parking lot? Would these modifications on the content of the scene change our perspective? Do these kind of pictures (shocking, meaningful, brutally human) really have an influence on “real” life, have consequences?

Furthermore, what about the golf course and the fence, when were they built? What was there two years ago? And one hundred years ago? And two thousand? And 80 millions years ago? And n before? And what will be there in one hundred years? In two million years?

To conclude, Birdie presents itself as a kaleidoscope of possibilities generated from the image up here. A mash up of interpretations and perspectives regarding contemporary socioeconomic migrations; the movement of commodities and capital; history as a never ending return of the same events with different faces; the free (without borders) but at the same time inevitable (carved in their DNA) migration of swallows; the power of images; or their helplessness.

On stage, a big table with a scale model recreating the golf course picture. But a scale model that is much more than that, a scale model reproducing the scenarios where all the plot lines suggested before find their place. And technology capturing, transforming and projecting it: video cameras, screens, projector and computers used at their full capacity (live video, birds tracking software, internet searches, stock exchange market investments done live, worldwide airplanes radar in real time, information sharing, social networks and much more). And three performers handling this entire messy world with wit, criticism and commitment with mankind.

performance Àlex Serrano, Alberto Barbera and Pau Palacios | production Agrupación Señor Serrano | copodruction GREC Festival de Barcelona (Spain), Festival TNT (Spain), Konfrontacje Lublin Festival (Poland), Théatre Hexagone – Meylan (France), La Fabrique de Théâtre – provincie Henegouwen (Belgium), Monty Kultuurfaktorij (Belgium), Parktheater (Netherlands) | supported by Cultural Office of Spain’s Embassy in Brussels, Biennale di Teatro di Venezia (Italy) , Centre International de Formation en Arts du Spectacle (Belgium)

 Autumn 2015

1, 2, 3 Oktober | Cie d’autres cordes/ Franck Vigroux | Aucun Lieu| performance 


Aucun Lieu", between opera-video and concert-choreography, sucks us into a space altogether sonic, visual and choreographic where the stage itself become volume in pulsation, stretching out and pulling in, expanding and contracting, on surface and in depth. The stage is an infinity in which the different materials presented cause us to question the perception of our own senses. Between noise, drone and minimalism, the music of Franck Vigroux plays (live on stage) with micro variations, strengths of timbre and distortion effects with a spatialisation that disorientates one's ears.

Added to this mix is his voice, transformed and mutated. Like a dialogue with himself in a litany verging on the absurd. Two poems have inspired the show “I dreamed of my genesis” by Dylan Thomas and Heiner Müller’s Ulysse. Two troubled crossings over the soul and the flesh; a dawning at the end of the night. Within the sonic writing merges the choreographic writing of Myriam Gourfink, which focuses on slowness, and the videos of Kurt d'Haeseeler, in which the images are stretched to the extreme. "Aucun Lieu" No Place in reference to Thomas More “utopia”, or the land that does not exist.

concept and music Franck Vigroux | video, installation Kurt D'Haeseleer | light Nicolas Villenave | dance Azusa Takeuchi | choreographer Myriam Gourfink | assistant dramatist Michel Simonot | sound Carlos Duarte | production Cie d’autres cordes | co-production Scènes Croisées de Lozère, Festival Aujourd'hui Musiques du Théâtre de l’Archipel, scène nationale de Perpignan, Ville de Mende, Festival Musiques Démesurées à Clermont-Ferrand, "éOle, collectif de musique active

9, 10 oktober | Chantal Yzermans/ Radical Low | NO BOLERO | dance | première | coproduction Monty


a performance on the engagement of artistic appropriation
the realtion between power and creativity
dreams and intellectual property
scence and art

During her residency at la Cité Internationales des Arts Paris, Chantal Yzermans started the research towards a new project in collaboration with neuro-scientist of sleep Dr.Joelle Adrien ( INSERM/Faculté de Médecine Pitié-Salpétriere Paris) and the expressionist-synth artist and punk diva MADmoizel.

Dr. Joelle Adrien is a neurological scientist specialized in research on sleep and sleeping issues. The performance NO BOLERO grew out of her expertise; the emperical observation of sleep and the questioning of the origin of dreams.

concept Chantal Yzermans | original music MADmoizel | music Bolero by Ravel | dance/performance Chantal Yzermans | music/performance MADmoizel | lecture/performance Dr. Joelle Adrien | costume design Jean Paul Lespagnard | dramaturgy Mark Geurden | light  Elke Verachtert in collaboration with Johan De Bleser | photo Laetitia Bica | production Radical Low | co-production Jan Fabre /Troubleyn, Kultuurfaktorij Monty, Kunstencentrum Voruit, TAKT Dommelhof, Centre Pompidou Metz, Teatro Canal Madrid


30 oktober | Albert Quesada | OneTwoThreeOneTwo  | dance

This is not a flamenco piece.

In OneTwoThreeOneTwo, a pair of male dancers use their bodies and their voices to ask, what is flamenco? How does this unwritten language – at once a music and a dance – create such intense, immediate communication?

Flamenco is an ancient, but a living form. From the deepest roots of gypsy music to the grand stage productions of today, her power springs from the same fundamental rhythmical sequences: 123 123 1212 12. The intimacy and audience interaction of the flamenco tablao generates a complex web of meaning, expression and storytelling - a unique set of rituals and techniques that continues to grow and evolve.

OneTwoThreeOneTwo breaks flamenco apart, examining each aspect of its singular magic.

concept Albert Quesada | choreography and dance Albert Quesada & Zoltán Vakulya |sound design Albert Quesada | light design Bert Van Dijck | music (tba) | costumes Sofie Durnez | program tekst JS Rafaeli | musical advise Juan Carlos Lérida | choreographic assistant Petra Söör & Leo Castro | production Albert Quesada / Klein Verzet vzw | coproduction Charleroi Danses, CCNR | with the support of the Flemish authorities, the Vlaamse Gemeenschapscommissie and the Culture Programme of the European Union | in collaboration with PACT Zollverein, Vooruit, TAKT/Provinciaal Domein Dommelhof, STUK, El Graner, L’animal a l’esquena

12 november | kwaad bloed & Ugo Dehaes | DMNT | dance | première

In 2015, approximately 50 million people will suffer from some form of dementia. For years, choreographer Ugo Dehaes has been working with universal themes. When he saw a loved one’s health deteriorate through dementia, and the pain and uncertainty that this brought their family, he went looking for a way to translate these complex processes to the stage.

In DMNT, Dehaes tries to fathom the process of dementia by trying to understand what goes on in the mind of the dementia sufferer. He translates the physical patterns to the stage. Through movement, the viewer gets to see what it is to forget, how concentration turns into obsession, how thoughts evolve, and how old memories continually recur. The result is a physical trio, in which he dances alongside Kayoko Minami and Charlotte Vanden Eynde.

choreography ugo Dehaes with the dancers | dance Charlotte Vanden Eynde, Kayoko Minami, Ugo Dehaes | music Roeland Luyten | light Arne Lievens | scenography Pieter Eycken | dramaturgy Peggy Olislaegers | production kwaad bloed vzw | co- production TAKT, Dommelhof & Brakke Grond| with the support of Vlaamse Gemeenschap en Vlaamse Gemeenschapscommissie 

13, 14 november | Kevin Trappeniers | ASYMPTOTE | theatre

How does man manipulates time? How do people manipulate each other? What is essential to man with respect to himself, to others, in his dealings with his surroundings and towards the dynamic objects he creates or discovers? What is the limit of our human relationships?

An asymptote refers in mathematics to a line to which a curve approaches ever closer, without ever touching.The paradox of the infinite never quite falling together, and the poetry caused by slow-moving, are key in Asymptote. In a society that is ever more rapidly progressing, two human figures arise in Asymptote who appropriate a landscape and come home. Or not quite.

For Asymptote, Kevin Trappeniers works together with performer Manon Avermaete, composer Kreng (Pepijn Caudron) and light artist Laurence Halloy. After a research phase in L'L, asymptote is ready for a first tour in Flanders, the Netherlands and France.

In darkness and stripped from time and space, a landscape unfolds in which vulnerable bodies manipulate time, each other and their environment. Asymptote researches the mutual infl uence between a landscape and its inhabitants, and the virtual and real identity that stems from occupied space. Growth, bloom and collapse fade into each other on a human scale.

Kevin Trappeniers develops a stilled, visual and physical theatrical language in detailed, sensate work at the intersection of theatre, dance and visual arts. He mostly creates wordless performances in which acting, lighting, sound, body and scenography are equally important.

concept Kevin Trappeniers | performers Manon Avermaete, Kevin Trappeniers | music & sound design Kreng | light design Laurence Halloy, Kevin Trappeniers | dramaturgical support Olivier Hespel |distribution Vincent Company | production Stray Light vzw | coproduction TAKT Dommelhof Neerpelt (BE) | in collaboration with Arts Work Space L'L (BE), Arts Centre Buda (BE), Arts Centre Campo (BE), Arts Centre De Werf (BE), Théâtre de Bouxwiller (FR) | with the support of the Flemisch Government (BE)

10, 11 december |
Eveline Van Bauwel | Infinite Journey / In this together... | dance | première 

Infinite Journey / In this a dance performance in which the choreographic  structure is carried by the’ primaeval triadic chord”. The basic colours and shapes are the starting point for an abstract and absurd evolution theory. Eveline Van Bauwel builds in this piece a bridge between dance and technology and forms with this a cross pollinating and constantly transforming organism on stage. All is connected in visible and invisible systems. Musically a record player ballet plays a complex variation of loops that are phase shifting. The installation of record players is a visual and acoustic- poetic meeting of the past and the present somewhere in a hole in time. The performance brings the connection between colour, movement and sound to the surface of the spectator’s consciousness. Inspired by synesthesia and based on the colour theory’s of Johannes Itten and Kandinsky you could call this a contemporary, distilled and simplified Bauhaus Ballet.

concept, choreography and dance Eveline Van Bauwel | choreography and dance Marcus Baldemar and Cecilia Lisa Eliceche | mixed media artists Yacine Sebti and Julien Maire | light design Arnaud Gernier and Benjamin Van Thiel | music Tom Tiest and Domien Holthof |costumes Eefje Wijnings | advice Michael Helland | production Curtain Call Productions | coproduction TAKT/Dommelhof | with the support off iMAL,Workspace Brussels, Monty, CC De Warande, Vooruit, Kunstencentrum Buda | with the financial support of the Flemish Government

18, 19 december |
MaisonDahlBonnema & Needcompany | Rhythm Conference Feat. Inner Splits | performance

For their new project, Rhythm Conference Feat. Inner Splits, Dahl and Bonnema are collaborating with the Swiss musician and artist Nicolas Field and the Swiss actress Catherine Travelletti. 

The performance/concert is intended to be an examination of rhythm and expression, far removed from 
anthropocentrism and from the psychology of roles and characters. 

"We are saying ‘no’ to existing forms and conventions, and will be seeking the monstrous, the unpresentable, in an attempt to escape the dominant capitalist consensus, whether it be the aesthetics of the fine and the new, or the codes of social communication."

MaisonDahlBonnema is the name adopted by the duo Hans Petter Dahl and Anna Sophia Bonnema. In 1995 Dahl and Bonnema set up Love & Orgasm. Since then they have created twelve performances as a duo or with other artists, at the meeting point of composed music, text, visual art and theatre.

Dahl and Bonnema are constantly redefining themselves: from Love & Orgasm through L&O Amsterdam to MaisonDahlBonnema, which opened in 2003 as a virtual concept establishment that launches new collections of ideas in the form of clothes, music, video and writing. Since 2014 they are MaisonDahlBonnema.

Their performances display a radical preference for the autonomous juxtaposition of the various means of stage production. The audience itself has more than once also become part of the overall setting. Dahl and Bonnema work out everything themselves: the writing, the music, the design, the acting itself.

These two performing artists have since 1999 played an important part in Jan Lauwers & Needcompany’s stage productions. Hans Petter Dahl had previously been a co-founder of and for many years a performer with the Norwegian cult group BAK-TRUPPEN.

concept Anna Sophia Bonnema & Hans Petter Dahl | text Anna Sophia Bonnema  | music Hans Petter Dahl, Nicolas Field | performers Anna Sophia Bonnema, Hans Petter Dahl, Nicolas Field, Catherine Travelletti | light Marjolein Demey | sound Pierrick Drochmans Hats and set Lot Lemm | costumes Johanne Riss | technical manager Marjolein Demey | production of the creation Chris Vanneste | photographer Maarten Vanden Abeele | dramaturgical introduction Frank Vande Veire | assistance & subtitles Eva Blaute | a Needcompany production | coproducer BIT Teatergarasjen (Bergen) | with a residency in PACT Zollverein (Essen) | with the support of the Flemish authorities and Norsk kulturråd


Rob Fordeyn | Tragic by accident | 16, 17 January 20:30 | dance | première

Dancer/choreographer Rob Fordeyn and visual artist Darcey Bennett combine their forces to explore the tragic body.

Tragedy as an accidental, random fact that creates space for transformation and innovation. To built a new image by accepting decay. Accepting his ballet background,Rob Fordeyn investigates his own personal roster. He organises a meeting between limitation and impossibilty in a tragic body,embracing limitation as a challenge. For example by making a duet from Swan Lake a solo by combining the male role with the female role.

Fordeyn will intertwine his duo/solo from Swan Lake with other tragic voices from classical pieces: The impossible mother-daughter relationship from Electra by Sophocles and the impossible mother-son relationship from the movie ‘The Damned’ by Luchino Visconti (1969). Fordeyn develops his physical vocabulary from the turning point of that film,where he recognizes movements that are almost identical to the movements of Swan Lake.

Fordeyn and Bennett combine this classical setting with the nocturnal register of techno culture. They look upon techno as a no-time zone,a contemporary form of shamanism where people are bonded physically in an almost utopical collective individualism. The tragedy lies in the unavoidable ending of their shared short circuit.

Musically Daniel Van Verre will assist the piece . Lightdesign will be by Jan Maertens.

€12 | €10 | €8 | €6



Tuur Marinus | The Workshop and Still Animals | 4 February | 20:30 double bill | dance

In Still Animals the famous photographic studies of Eadweard Muybridge come to life.

Iconical photographical series (like the jumping cat or the flying pigeon) are performed by naked human bodies which are subtly manipulated by camouflaged performers! The differences in between the human body and the animal body create intriguing beings that look both artificial and organical, which seem to be moving while staying in place.

Out of the darkness appears a mesmerizing suspense of jumping and flying bodies, next to almost absurdly low-tech constellations that create this illusion of effortless motion.The performance evolves from sober iconical images to more complex group choreographies.

choreography Tuur Marinus | dance Mohamed Boujara, Marisa Cabal, Wannes Labath, Flup Marinus, Tuur Marinus,  Pol Van Den Broek, Inez Verhille | light design Elke Verachtert, Clive Mitchell Loemij | costumes Tuur Marinus | production stage version: Caravanproduction vzw, Brussels | coproduction Beursschouwburg Brussels | residencies Beursschouwburg Brussels; Theater Zuidpool, Antwerp; Artesis Hogeschool, Antwerp |with the support of the flemish government; the Flemish Community Commission

In The Workshop bodies are being ‘used’ and ‘tested’ in bizarre ways. Bodies seem to be handled as tools: dancers are being pushed around like lawn mowers or handled as levers. The enormous muscular effort and coordination these actions require, make it clear that the manipulated dancers are not will-less subjects, but that -for some incomprehensible reason- they conform to their role as lawn mower or lever. In this bizarre coexistence of manipulation and participation, these intense physical interactions create hilarious and captivating images, that propose new visions on individuality and solidarity.

Next to its strong visual character, the performance builds up a direct relationship with the mesmerizing music, which results in an almost classically dancy piece.

choreography Tuur Marinus |dance Mohamed Boujara, Marisa Cabal, Wannes Labath, Flup Marinus, Pol Van Den Broek, Inez Verhille | dramaturgy Marnix Rummens | light design Clive Mitchell Loemij |costumes Tuur Marinus | production STUK kunstencentrum | coproduction STUK kunstencentrum, KULeuven, Ku(n)st Leuven | residencies: Dommelhof/Takt, Neerpelt; Monty, Antwerp; wpZimmer, Antwerp | with the support of: the Flemish Government

€16 | €12 | €10 | €6

David Hernandez | Hullabaloo | 27, 28 February | 20:30 | dance |  Belgium première

Hullabaloo is a dance concert built around the collaboration between choreographer, dancers and musician. The music is a collaboration between David Hernandez and drummer-percussionist Michel Debrulle (Trio Grande, Rêve d’Eléphant), who will focus on his voice for this project. Hullabaloo is extravert and instinctive and screams, breathes and oozes dance. The combined power of music and dance are projected onto the public.  

David Hernandez has years of experience as a choreographer, regularly working with Meg Stuart and Anne Teresa De Keersmaeker. The physical theatricality he developed during the early years of Damaged Goods and his approach of music and movement that lead to a collaboration with Rosas give his movement research a very specific starting point.

choreography David Hernandez | dance David Hernandez, Colas Lucot, Renata Graziadei, Shai Faran, Timea Maday en Thomas Demay | live music  Michel Debrulle | scenography Saskia Louwaard en Katrijn Baeten | light Hans Meijer | coaching Moos Van den Broek, Moya Michaels | production Cacao Bleu vzw, Lenneke Rasschaert en Anne-Lore Baeckeland | coproduction Ballets de Lorraine FR, Scenes de la Vosges FR, Kunstencentrum STUK, Monty, C-mine Genk | with the support of the Flemish Government | thanks to studio Laborgras Berlin

€16 | €12 | €10 | €6

Dianne Weller | For your ears only | 11 March | 20:30| - soundperformance



In times of visual over stimulation, this performance aims to indulge your imagination. Dianne Weller an australian belgian based theatre maker & performer, with assistance from german theatre maker Julie Pfleiderer have decided to invent a new form of theatre, For Your Ears Only, based on the Oral tradition.

They showcase an invisible play on an empty stage and, in doing so, resurrect the radio play in a performative way. Radio Drama or the ‘hear play’ is synonymous for action, comedy, fantasy and of course drama. We mix the two worlds of theatre and radio to create a new form, radiophonic theatre.

Similar to a radio show, the Superamas has a reputation for playing on these elements featuring bimbos and gigolos, however we discovered a new exclusive work of theirs taking a new direction entitled Our House.

Inspired by radio and the Oral Tradition of storytelling, we created For Your Ears Only with Critique told by Andrew Haydon, the Guardian (UK), Pieter T’Jonck (BE), De Morgen, Etcetera amongst others; and Elke Van Campenhout (BE), a.pass artistic research centre. 

Using your imagination from the oral information and soundscapes enables you to see this incredible show.

concept and direction Dianne Weller | collaborative director Julie Pfleiderer | sound direction Ruben Nachtergaele  | assistant foley artist Nick Peeters  | technical sound direction Ludo Engels | light design Hans Meijer| critics Pieter T'Jonck (BE), Elke Van Campenhout (BE), Andrew Haydon (UK) |theatre makers Superamas | artistic advice Bart Van den Eynde | production Pianofabriek Kunstenwerkplaats | co-Production  BUDA, Beursschouwburg, Vooruit, Monty |support Vlaamse Gemeenschapscommissie, Critical Path Choreographic Research Centre Sydney Australia


€12 | €10 | €8 | €6

Marc Vanrunxt | Real, So Real | 12, 13 March | 20:30 | dance

On January 21 st, 2015, the new work of Marc Vanrunxt: Real, So Real will have its première in Concertgebouw Brugge. The starting point of this performance is the composition Three Voices by Morton Feldman; of the eponymous three voices one is sang live, the other two are recorded on tape. With uncharacteristic clarity, Feldman pointed out the directions to perform this piece: he wrote that the singer has to stand in front of two speakers which rise up as tombes. Feldman wrote Three Voices in 1982 for the singer Joan La Barbara, as a homage to and in remembrance of the painter Philip Guston and the poet Fran O'Hara. Feldman sent the score to La Barbara by mail. In a letter he compared the triple score to a dress that would perfectly suit her.

Over thirty years later, the voice of Els Mondelaers will be heard thrice: two times recorded and one time live - just like La Barbara. For the recordings, Mondelaers en Vanrunxt collaborate with ChampdAction. Three Voices has a tight, repetitive en thereby compelling character. It is an emotional composition; a technical "tour de force" that lasts fifty minutes.

Dancer Marie De Corte interacts with this three voice-installation and offers a powerful dancing counterweight against the monumental sonority of Three Voices. The performance can be read as the third part in the triptych for Marie De Corte, following Mijn solo voor Marie (Vernietigd) (1997) en Lamentatio (2009).

In Real, So Real Vanrunxt explores the tension between the real and the unreal and the interaction between the voice (singer) and the body (dancer).

dance Marie De Corte | choreography Marc Vanrunxt | soprane Els Mondelaers | music Three Voices by Morton Feldman | scenography Koenraad Dedobbeleer | styling costumes Marc Vanrunxt | recording and editing Simon Van derBeken & Thomas Moore | advice Marie-Anne Schotte | light and technics Stef Aldeweireldt | sound Simon Van der Beken | production Kunst/Werk | coproduction ChampdAction, Concertgebouw Brugge, TAKT Dommelhof

€16 | €12 | €10 | €6

El Warsha | Zawaya
| 23 March | 20:30 | theatre and performance

The text of Zawaya (arabic word meaning "angles") collects five testimonies from the 2011 winter's “18 days” that led to the fall of President Mubarak and from the year following this turning point in Egyptian history (history ever in progress). The young writer Shady Atef has turned into vernacular jewels this memory, crystallized into five figures for five monologues : a thug payed by the power, an army officer, the mother of a young man killed in Tahrir Square, a football fan, a female activist visiting a morgue.

On stage, the director Hassan El Geretly, the tutelary figure of Cairo independent theater, sat five actors of his company, El Warsha, facing the audience. Each one tells his or her story. But simplicity is only apparent. The piece weaves individual and collective dimensions and tends to the  rupture the equivocal relationships between history, art and truth. The document is accurate and original, but the documented claims to be able to lie. The stories are bathed in the idealism of the “18 days”, but then and today's violence is coming back constantly. Everyone is compelled to take position in the grand narrative, but the losses are not mythical and the pain is reluctant to the commemoration.

Without doubt one of the deepest artistic accounts of this event, the Egyptian “revolution”, and of its consequences: in fact the show talks almost as much about the current historical situation, from the point of view of the people from below.

direction Hassan El Geretly | with Arfa Abdelrasoul, Seif El Aswany, Donia Maher, Yasser El Magrabi, Hassan Abou Al Rous en Ahmed Shoukry | tekst Shadi Atef | poetry Mohaed El Sayed, Shadi Atef en Wael Fathy | music  Yasser El Magrabi | production El Warsha | with the support of TAMASI Performing Art Network, SIDA Swedish International Development Cooperation Agency, Hakaya / Union Européenne

€16 | €12 | €10 | €6

Lotus Eddé Khouri | Tournures | 3, 4 April | 20:30 | dance | première


« Tournures » brings together the various, often coinciding tasks of four individuals-- one sculptor, one musician and two dancers. The piece carries with it their different biases: radical, functional, intimate, restrained.

Electrical contact is greatly troubling in its discontinuity. It either takes place or does not. All other contact is false. This is how it is with the body as well, either my hand touches the table or it does not. Various senses and phenomena of the body help us to touch, to feel — apart from touch itself there is hearing, sight, temperature, synesthesia, not to mention the almost invisible hairs all over us with which we touch before touching. Through “Tournures” we seek to discover these hairs of our electrical system(s) and make confusion where there is contact.

Lotus Eddé Khouri is a French dancer and choreographer with Libanese roots.  From her first creation, Le Temps l’Emportera in 2010 (presented at the Theatre de Brigittines in Brussels), she started to move away from dance in search of dance, working with artists of various disciplines. Dance reduced to its most simple is a tool that helps us to get as close as we can to what we think possible ! She is currently working on the project Structure-Couple with the sculptor Christophe Mace (Cosy, presented at The générateur in Paris), and on the duo Reciprocal Scores and Volatil lambda with the musician (a core work on the relation between gesture/sound/space), as well as on her own solo work.

choreography Lotus Eddé Khouri | sound Jean Luc Guionnet | from and with Christophe Macé, Muhanad Rasheed, Jean Luc Guionnet & Lotus Eddé Khouri | production CHORDA | co-production : Théâtre MONTY, Moussem | with the support of La Fonderie (le Mans, France) and L’Etoile du Nord (Paris, France)

€12 | €10 | €8 | €6

Katie Vickers & Inga Huld Hákonradóttir | Slogan for modern times | 28, 29 May | 20:30 | dance | première

Is this really happening? What is it?

How do we describe what is happening when we don’t know what it is? How do we experience a space that is constantly dismantling itself, now?

This is happening now.


Stressing the moment before the moment of terror, the now anticipating the following now, two performers insist on the very moment before name-ing and identifying. How long can we stay present with this unidentified something, before it is named?

Inspired by outcasts and strange bodily connections, the performance is a determinate expression of inbetweens. Bodies, beings, things and codes of communication emerge and create a suitable universe for the undefined viscera. At length Slogan for Modern Times questions the terrifying spaces in between the horrific and the appealing, the pleasurable perversion that is in all of us.  

€16 | €12 | €10 | €6