Ch'eza Street Battle is a 100% krump event in collaboration with EBS, the world krump championship. The participants will have to compete to be selected (…)
This year in Tournai, the heart of Wallonia, the Théâtre National Wallonie-Bruxelles and the Maison de la culture de Tournai jointly propose, as equal partners, the season’s opening in another context.
Made up of fragments of reality, Stadium orchestrates an unexpected encounter and engages in a class exploration which demolishes clichés to honour the fervor of the fans.
Léonard Berthet-Rivière and Muriel Legrand revisit the art of vaudeville. They slalom between stage directions and surf on absurdity in a joyful and frenzied reading.
Renault 12 is a cinematographic experience born from a documentary material: my mother’s death. This testimony is a collection of confidences, an intimate epic, a pathway towards death and what follows : ceremonies, the repatriation of a body and administrative constraints.
With a strange emotion, half horror and half tenderness, Eline Schumacher decides to bring together the gang of her father’s six best friends at his fictional funeral.
Weaving a thread that binds them, and connects Brussels and Marseille where they live respectively, Clément and Guillaume Papachristou make their twinship a territory to be discovered.
Alessandro and Mauro imprint the gestures and deploy their trajectories, from Marianne Faithfull to Béjart’s Boléro, the Italian leaden years to Pier Paolo Pasolini, from feathers to wigs. Not to mention the tutus.
Aurore Fattier takes hold of Ibsen’s classic and offers a contemporary transposition coupled with a mise en abyme of the work.
For reasons beyond our control, the show Le Bonheur by Tatiana Frolova is cancelled.
The embodiment of free theater in Russia, the KnAM, between artistic gesture and documentary speech, at the crossroads of images, destinies and testimonies, (…)
An autumnal gathering of human rights defenders, inventors of possibilities, the Festival des Libertés offers a multitude of documentaries, debates, shows, exhibitions and of concerts.
In a working-class neighborhood of Casablanca, Abdellah, a gay teenager, tries to build himself in a large family, between an authoritarian mother and an older brother he loves passionately.
Faced with explosions of homophobia, Hakim Bouacha plays with documented autofiction to better combine individual and collective scale - auscultation of a society depicted as viscerally homophobic.
Scènes nouvelles helps to highlight and to share what irrigates emerging French-speaking Belgian creation: strong, radical hybridization.
Far from offering only disturbing fiction, Christiane Jatahy presents a splendid cinematographic and documentary exploration in the region of Chapada Diamantina.
In a human approach, Gaia Saitta, invites spectators to accompany her, giving substance to the story, to Irina’s emotions.
In a Turkish enclave in Bremen, patriarchal widower Ali brings home Yeter, a local prostitute, to tend to his domestic needs.
In this ferocious fable, between vaudeville and mythology, the nuclear family is the empire broken taboos and of absolute hypocrisy.
Being both actors and narrators, the three characters fill this grating comedy with visions and archetypes.
In a stripped-down aesthetic, Samantha van Wissen comments, paraphrases, documents and dances Giselle.
Marie-Aurore D’Awans & Pauline Beugnies inscribe the documented theatre in a larger totality than the simple reconstruction of the facts.
Sabordage illuminates, with a certain humour, the human mechanisms that push societies to let themselves be blinded by the mirages of growth and overconsumption.
Dive in is a story of the body, of performance, a mixture of processes from the darkest to the brightest.
The Way Back is a road movie about borders, migration and Europe. As a young musician, Hussein Rassim fled from Iraq to Belgium.
This five-day meeting is already to be noted in the diaries to discover original, creative and daring proposals. For all tastes and all ages.
In a workshop or film studio setting, Cyril Teste offers a sophisticated, hybrid scenic device, which poetically mixes live performance with sequence shots projected on video.
In SIMPLE, three big kids jump around cheerfully performing the most improbable gestures, delighted to arouse the interest and the laughter of the public.
At work in Liebestod is a ceaseless search for tragic beauty, an attempt to communicate directly with the sacred.
In this new creation, Steven Cohen welcomes us in his Boudoir, a domestic place where the links between intimacy and politics are reconfigured.
The moving requiem offered by Steven Cohen ventures into the realm of mourning, offering himself to his lost love as a living burial.
In a post-apocalyptic setting the pulsation seizes the dancers to do justice to the anger, to the revolt.
L’après-midi d’un foehn Version 1 invites us to wonder, before what is impalpable and brilliantly tamed in a performance/installation, as if it were pieces of matter:
This timeless tableau of adolescence, as poisonous as it is dreamy, with saturated romanticism in a form of flamboyant camera, still dazzles.
A sensitive portrait enriched by the sublime melancholy of the musical compositions of Belgian author/composer An Pierlé.
The invitation to travel through texts to find the Théâtre National in all its states, to follow the voices on every level. Crossover projects, unabashed in their hybridity, will thus find their place
Inspired by real events, Emilienne Flagothier rewrites these daily stories of violence against women. The artist experiments by creating a space where the relationships are reversed.
An empty space, a door. Four characters. They seem stuck, without really knowing why, or how to escape.
It is a state of current society, a gauge of testicle theatre, grotesque, with a question. How far can hideous men go in the process of dehumanization in the intimate sphere?
Pippo Delbono met Bobò in 1995 at the psychiatric hospital of Aversa. A born actor who could neither read, write nor speak, and who has since died.
WEG works on the progressive disruption of the choreographic phrase of each dancer resulting in a cacophony of uninhibited gestures and attitudes.
Let the stage to take over the city; let the city to take over the stage.
In a human approach, Gaia Saitta, invites spectators to accompany her, giving substance to the story, to Irina’s emotions.
Angela (a strange loop) takes us on a deep dive into the phenomenological question of identity and consciousness.
Léa Drouet gradually conjures up without ever showing it directly this absent point of the child who insists while escaping.
In this new creation, Anne Teresa De Keersmaeker’s exploration of the relationship between music and dance shifts back towards the genre of pop. Pop music invites us to dance.
