Save the date : Book your evening on 03 June 2025 to join us for the presentation of the 2025-2026 season! It is surrounded by the National Theatre team (…)
Twice a month, Maison Gertrude, an art center within a care home, opens its doors and invites you to discover its collection of artworks created in situ. (…)
The event where the street and the theatre meet in a fusion of pure energy.
A collective adventure, weaving bonds and bringing cultures into dialogue.
Here, resistance dances in the heart of the lianas, at once a unity and a multiplicity, head-to-head with the deforestation threatening the native peoples of Central Africa.
With its luxuriant staging and sleek costumes, the piece comes across as an intense, challenging and vital theatrical experience.
Courage is an arrow that goes straight to the target. In chaos, courage is a joy. On the occasion of the performance of Catarina et la beauté de tuer des fa (…)
With a free, fantastical rewriting of The Divine Comedy, Justices follows Vincent, an artist with Down's syndrome, in an existential search through the circles of a graphical, pop-aesthetic hell.
Political. Artistic. Festive. Subversive. Every year, the Festival des Libertés mobilises all forms of expression to resist, to witness, to gather
With a free, fantastical rewriting of The Divine Comedy, Justices follows Vincent, an artist with Down's syndrome, in an existential search through the circles of a graphical, pop-aesthetic hell.
Serbian film-maker and artist, Mila Turajlić has dived into the unique cinematography archives of the former Yugoslavia, vestiges of a disappeared country, to give a voice once more to the aspirations of the non-aligned.
Why is art penetrating into the care sector more and more? How do cultural institutions find themselves questioning vulnerability?
Enclosed within the myth of security, we have all become sick. Auto-immune conditions – including those known as dry eyes – in which the bodies of sufferers turn on themselves, are no longer the exception in collective health, but are rather a common feature of our exhausted, hyper-individualised societies.
Scènes nouvelles shares what inspires the strong and singular work of French-speaking Belgian artists.
Examines the weight of memory on our lives, in order to reveal indirectly a period struggling with the return of a History it thought was over.
How to see oneself in a world where capitalism shapes desire and dictates form?
The rain falling, a sudden flood, lives overturned. Camille no longer speaks, since the time the water carried everything away: her home, her memories... and her dog, Larry.
Ngân is Vietnamese. Quentin was born in Libramont, in the Ardennes region of Belgium. At the outset, there was nothing that could have brought them together.
As the desperately heroic mission turns into a fiasco, and the world is collapsing around them, they decide to flee: here they are, botching together a makeshift vessel to try to reach an unknown galaxy.
Brian is a student, withdrawn and convinced he has been kidnapped by strangers.
What is it that shapes the collective memory of a country? Is there a shared Belgian identity? What does the History of this region reveal to us about those who inhabit it?
Every archive recording, assembled along with others, gives substance and weight to the denunciation of war crimes. Like a theatrical gesture, vibrating with struggle and hope.
A car, stopped in the middle of nowhere. Inside are Clara and her brother Félix, separated for twenty years, and now together again after a night of celebration and dancing.
Finding common aspects in their parallel journeys, they disclose the unspoken, between public frankness and family silences.
What happens when expectation is more thrilling than is the revelation itself?
If he were born in 1982, instead of in 1182, whom would he meet along the way? And what crib scene would he create in the supermarket parking lot, among the rubbish bins?
On the stage stands an imaginary wall, a symbol of ancient separations and scars. Windows open onto memories, fragments of history.
These warriors of the imagination are breaking silence here, distorting the unthinkable, making us pass behind, or on the other side. Here, the bystanders gather and read aloud on the spot.
How can dance today incarnate the incandescence of Brel? BREL seeks to give a new shape to the power of this repertoire.
This is a citizens’ court, where members of civil society can organise themselves as a resistance force opposing state-perpetrated violence.
Through this radical experiment, Vincent Hennebicq crushes our certainties, allowing us to glimpse multiple scenarios. Dare to let go, branch out, be guided towards the unthinkable: can the dice reveal us to ourselves?
In the near future, governments have set up a new global game, called the Great Hunt.
A disturbing force, which holds these silhouettes in continuous imbalance, dependant on an unstable, poetic environment.
There is no condescending or recovery offered here. Portrait of Rita tells of a meeting, and offers a crude, resonant account, never lacking in humour or poetry.
They give her the importance that she deserves, and that so many women deserve, turning this biblical tale into a magical one.
Starting from her family history, the actress investigates her own truth, and tries to understand how a simple, everyday inability bears witness to the marks that the great History leaves in human destinies.
The piece was born from this unlikely, almost miraculous friendship, which challenges the obvious.
The Pieuvre site draws its energy from a disappearance, and examines what is unsaid.
Mrs Muir, retires to a house by the sea with her daughter and a servant. The ghost of the former owner, Captain Gregg, haunts the premises.
With a free, fantastical rewriting of The Divine Comedy, Justices follows Vincent, an artist with Down's syndrome, in an existential search through the circles of a graphical, pop-aesthetic hell.
The bodies tangle, overflow from the frame, allow themselves to be carried along in an energetic, organic chaos.
A living celebration, weaving links between artists and city-dwellers.
In this new creation, Disanka connects the history of Congo with that of his mother in the form of a kasala – a sort of eulogy in the Kasai culture, to which his mother belonged.
From the suburbs to the theatre stage: where is our colonial heritage hiding, and how can it be revealed?
