Si t'y danses - balades urbaines
Various places in Brussels
Brussels
Festival
Si t'y danses - balades urbaines
(En) Circonférences du geste
Au point de croisement entre sa position, en retrait de la production artistique, et les réflexions menées au fil de sa pratique, Jean Luc Ducourt relève le défi de la conférence : penser et définir la danse, formuler ses chemins dans l’histoire de l’art – en parallèle à la peinture, à la musique –, analyser la nomenclature et les codes classiques en regard du langage contemporain.Interprète entre autres pour Susan Buirge ou Régine Chopinot, danseur puis collaborateur artistique chez Rosas, inconditionnel de Merce Cunningham, il aborde la notion de forme sous les divers angles de ses Circonférences du Geste pour « interroger une matière et ses possibles » : le corps comme espace, l’espace comme corps.
At the intersection between his position, detached from artistic production, and the reflections that have arisen from his activity, Jean Luc Ducourt is taking on the challenge laid down by the conference : conceiving and defining dance, formulating its journey through the history of art – in parallel with painting and with music –, analyzing nomenclature and conventions in the light of contemporary language.Having performed for figures including Susan Buirge and Régine Chopinot, a dancer then an artistic collaborator with the Rosas company, a devotee of Merce Cunningham, he approaches the concept of form from the various angles of his Circonférences du Geste in order to “examine a material and its possibilities” : the body as space, space as a body.
Jean Luc Ducourt
Charleroi danse / La Raffinerie
Molenbeek-Saint-Jean
Show
(En) Circonférences du geste
Genesis
From 12 September 2026, Genesis, an immersive light and sound experience, will transform the Church of Our Lady of Victories at the Sablon in Brussels. Following presentations in several major European cities, the experience brings together light, music and monumental projections in one of Brussels’ most iconic heritage sites.
Genesis finds a striking home in the Church of Our Lady of Victories at the Sablon, one of Belgium’s finest examples of Brabantine Gothic architecture. The centuries-old church provides a remarkable setting for the experience, as light, music and projections interact with the architecture, revealing its monumental spaces in a whole new light. Over 30 minutes, the audience follows the seven days of Creation as recounted in the Book of Genesis. From the creation of light to the emergence of humankind, the spectacle traces the creation of the heavens and the earth, the seas, the stars, plants and animals. A soundtrack combining classical music with contemporary compositions adds to the poetic and contemplative character of Genesis, creating an immersive experience in which the architecture, music and imagery come together.
Église Notre-Dame du Sablon
Brussels
Show
Genesis
The Selkie Poetry Reading | Beauty and the Beast
La Balsamine
Schaerbeek
Show
The Selkie Poetry Reading | Beauty and the Beast
Museum Night Fever x Train World - The Rolling Stars
Get to know all aspects of wheelchair dancing thanks to the Rolling Stars. It doesn't matter whether you're standing on your feet or rolling through life, everyone can dance.
Get to know all aspects of wheelchair dancing thanks to the Rolling Stars. It doesn't matter whether you're standing on your feet or rolling through life, everyone can dance. During the performances, both young and old are featured in numerous choreographies, from ballroom dancing to contemporary music. You will see solo dancers at work, as well as duos and group dances. A diverse ensemble that will continually surprise you in different ways. The audience is also invited to take part through short wheelchair dance workshops.
Train World
Schaerbeek
Show
Museum Night Fever x Train World - The Rolling Stars
Museum Night Fever 2026: Midnight Cabaret
The Museum of the National Bank of Belgium is delighted to announce its exceptional opening on the night of 17–18 October 2026 as part of Museum Night Fever.
Organised by Brussels Museums, this event, taking place from 19:00 to 01:00, offers you the chance to discover the collections of 28 Brussels museums in a unique nighttime setting, while also taking part in a variety of activities organised by these institutions, all in a festive atmosphere. Once your museum visits are over, the more adventurous among you can head to the afterparties at C12 or Botanique to keep the festivities going!
Join us for the cabaret at the National Bank of Belgium. We have put together an artistic and festive programme in our atrium. A special opportunity to discover our collections in a completely different setting. The programme features a menu exhibition, circus performances, a drag parade, participatory dance and a drag show.
The museum team has prepared a programme worthy of the occasion. To whet your appetite, the evening begins with an exhibition of gastronomic menus from the 19th to the 21st century, “Bill of Fare – the Price of a Good Meal”, in collaboration with Luzie Kurth, who will present her archives. This is a unique opportunity to discover the eating habits of our ancestors and trace how prices have evolved over time. Le Collectif: Fièvre de la Nuit will then take over with a series of dance-based circus performances, featuring a trapeze, an aerial rope and even a Chinese pole. Meanwhile, the Jordi L. Vidal Company has set itself the goal of getting everyone dancing in order to invoke good fortune. Finally, Zarra Nova, Mallow and Gallo Galante will take to the stage for a drag queen and drag king show, bringing the evening to a festive close.
Museum of the National Bank of Belgium
Brussels
Show
Museum Night Fever 2026: Midnight Cabaret
Museum Night Fever x Brussels City Hall
With a special show by Hôtel Crépuscule
On 17 October, Brussels City Hall joins Museum Night Fever for an exceptional evening combining heritage, culture and live performance.
For the occasion, Hôtel Crépuscule brings its mysterious cabaret universe into the historic City Hall. Drag, burlesque, circus and performance come together in an immersive show where the unexpected takes centre stage and the boundaries between performers and audience disappear.
A unique opportunity to experience one of Brussels’ most iconic buildings in a completely different atmosphere, for one night only.
Hotel Crépuscule, Alekseï Von Wosylius, Rose Gigot, Kleo Nix, Wynona Slayer, La Grande Benne
Hôtel de Ville de Bruxelles
Brussels
Show
Museum Night Fever x Brussels City Hall
La folle épopée de Lou B.
Fou Rire
Ixelles
Show
La folle épopée de Lou B.
Darius Dolatyari-Dolatdoust. DRESSING + mata !
With DRESSING and mata! presented as a double bill at Bozar, Darius Dolatyari-Dolatdoust's work resonates at Bozar with the exhibition Edith Dekyndt X Cristóbal Balanciaga.
DRESSING DRESSING is a performance that starts from the act of dressing. Getting dressed is a paradoxical daily gesture: depending on the individual, it aims as much to assimilate into a social group as to distinguish oneself from it. The costume is a support which allows both to merge, even to camouflage oneself in the mass, and to stand out: two ways of presenting oneself to others, which are based on an issue of collective belonging. DRESSING features bodies that use clothing and accessories in order to appear differently, to distinguish themselves from others and from the decor. Clothing becomes a ritual of transformation, allowing the creation of a new identity. The costume is considered as a choreographic score, in its capacity to offer a renewed way of moving, of expressing oneself, of performing. Silhouettes are constructed and deconstructed, revealing before our eyes creatures in constant metamorphosis, to the point of monstrousness.
* Please note that *DRESSING* contains nudity
mata! What form would a bullfight take, removed from the reality of killing, defeating gender stereotypes and the codes of ritual violence? In the center of the arena, bathed in the musical atmosphere of Paul Lajus, Grégoire Schaller and Darius Dolatyari-Dolatdoust deliver a critical rereading of this sacrificial parade by exacerbating the elegance of its pageantry. Through the reappropriation of gestures, light clothing and grimaces, the ultimate expressions of an encounter with death, the duo organizes a face-to-face which focuses on the bodily metamorphoses of the matador's face. Reinterpreting her in the guise of the drag king, both relax as they seduce each other, engaged in a circular choreography which plays on a disorder instilled in the genre. The result of research carried out in the field, in bullfighting schools, breeding sites and at a tailor between the South of France and Madrid, mata! makes shifts at the heart of this aesthetic-political node to think about bullfighting beyond the show.
*Please note that, during mata!, part of the audience will be standing.
Darius Dolatyari-Dolatdoust is a Franco-Iranian-German-Polish artist. He develops a cross-disciplinary practice combining visual arts, textiles, performance and choreography. His works-patchworks, kilts, felts, costumes-question notions of exile, memory and identity through a living, shifting textile material, a vector of transformation. The costume becomes a site of metamorphosis, where bodies are distorted to invent new narratives. Inspired by Persian arts, family archives or archaeological objects, he reassembles a fragmented memory and creates imagined landscapes populated by hybrid entities.
DRESSING - Credits
Concept: Darius Dolatyari-DolatdoustPerformance: Darius Dolatyari-Dolatdoust, Mallaury Scala, Hélio VolanaCostume: Darius Dolatyari-DolatdoustCostume and accessory collaborations: Rozy Sapelkine, Sarah Belfer, Constance TabourgaChoreographic vision: Lynda RahalExternal perspective: Grégoire SchallerSound composition: Paul LajusLighting design: Maureen BéguinProduction: DDDMM Company + Vincent BrouCo-production: Wiels, 3bisf, with the support of the DRAC Île-de-France - Ministry of CultureSupport: Pianofabriek, ISAC, La Ménagerie de verre, Le Point ÉphémèreWith the support of ONDA, SACD, and the Caisse des DépôtsIn partnership with the Théâtre de Vanves
Duration: 30 minutes
mata! - Credits
Concept: Darius Dolatyari-Dolatdoust and Grégoire Schaller
Performed by: Darius Dolatyari-Dolatdoust and Grégoire Schaller
Dramaturgical advice: Lynda Rahal
Sound composition: Paul Lajus
Lighting design: Gabrielle Maire
Co-production: Ballet de Lorraine (Nancy), Festival Actoral (Marseille), KLAP Maison pour la Danse (Marseille)
Production support: CCN de Caen
Duration: 50 minutes
Bozar - Centre for Fine Arts
Brussels
Show
Darius Dolatyari-Dolatdoust. DRESSING + mata !
Émeute
Théâtre de la Vie
Saint-Josse-Ten-Noode
Show
Émeute
Une Étude de "Card College" II - La Magie des Cartes - Steve Axon
Le Jardin de ma Soeur
Brussels
Show
Une Étude de "Card College" II - La Magie des Cartes - Steve Axon
Joyaux Lourdement Sous-estimés | Bast Hippocrate
Les Halles de Schaerbeek
Schaerbeek
Show
Joyaux Lourdement Sous-estimés | Bast Hippocrate
Nathaniel Moore — I dream a highway
I dream a highway is a contemporary dance performance about our relationship to future kin and what we offer them as inheritance. It puts the audience into the position of the future, from where they see archeo-choreographic remnants from the year 2026.
I dream a highway is inspired by the words of Nora Chipaumire, that “ancestors live in your bones, and even if you lost connection with them, they are there.” If there are ancestors in our bones, then surely we will live in the bones of the future. I dream a highway seeks to experiment with this relationality. Offering a landscape for envisioning a relationship with that which is both beyond and inside oneself.
This diagnostic dance performance reflects around causality, the potential towards responsibility, and towards building a speculative relationship with our future kin. How can we already assume the identity of an ancestor? What do we pass for our future to inherit?
about
Nathaniel Moore might be a troublemaker, a mother, an unemployed cult leader without a following, a storyteller, a shapeshifter, but is most definitely a dance artist based in Brussels working between choreography, performance, and artistic research. From 2020-2022 they participated in a.pass artistic research program, researching ghosts, speculative somatics, and social hauntings. Their performance work often deals with themes of alienation, whiteness, power, and fragility. Their work has been supported by wpZimmer, deSingel, and Horst Art & Music Festival to name but a few from an ever growing list. They are a resident artist at Needcompany Mills, and a member of the artist-Commons collective space in Brussels.
—
Choreography and concept: Nathaniel Moore
Performers: Nathaniel Moore and Magdalena Öttl
Scenography: Maori Thiénot
Music Composition: Charlie Usher
Costume Advisor: Federico Protto
Agent Provocateur: Olivia Ardui
Lighting Support: Ludo Dury
Co-production: Needcompany via Mill’s Reality Salon 2026 and Metarage
Production advice: wpZimmer and Kunstenwerkplaats
Residency: wpZimmer, Needcompany, Kunstenwerkplaats, Metarage, Zinnema, and A.pass.
This is an in-progress sharing of I dream a highway. An experience to bring you inside the work, as an audience co-conspirator. If we take care of tea and cookies, would you hang around and share your impressions?
Beursschouwburg
Brussels
Show
Nathaniel Moore — I dream a highway
The Harvest of Broken Promises
How do we remember the land once it stops feeding us? Can theatre capture the smell of soil, the ache of labour, or the true weight of a harvest? Born into a farming family, theatre-maker Pankaj Tiwari revisits his memories of the traditional, sustainable agricultural practices of his youth, and reflects on their gradual disappearance over the past three decades. Tiwari interweaves video footage, interviews, visual art, and folk tales, creating a narrative that serves as a mirror for a generation caught between the glittering promises of progress, and the steady loss of ancestral knowledge.
How do we remember the land once it stops feeding us? Can theatre capture the smell of soil, the ache of labour, or the true weight of a harvest? At the heart of The Harvest of Broken Promises is a simple yet urgent image: a piece of land that no longer remembers how to sustain itself. Born into a farming family, theatre-maker Pankaj Tiwari revisits his memories of the traditional, sustainable agricultural practices of his youth, and reflects on their gradual disappearance over the past three decades. Since moving to Europe in 2019, Tiwari has observed local farming practices first-hand. Despite being on a different continent, he sees similar struggles, albeit marked by a distinct gap in time. In The Harvest of Broken Promises, Tiwari interweaves video footage, interviews, visual art, and folk tales. By blending his own history with the stories of farmers from across India and Europe, his play captures the profound tension between aspiration and survival. Tiwari’s narrative serves as a mirror for a generation caught between the glittering promises of progress, and the steady loss of ancestral knowledge.This tension between tradition and progress is masterfully reflected in the set design and lighting design by Pol Heyvaert and the sophisticated dramaturgy by Maria Dogahe and Michiel Vandevelde. The set designer contrasts (highly) technological elements such as video mapping with the simplicity of a small pile of clay and a row of clay pots. At times, the exceptional play of light gives you the feeling that you are standing in a meadow at sunrise, together with Tiwari, searching for his little bird, or that you have found yourself in a real forest. – Elie Agniel, pzazz • Pankaj Tiwari is a contemporary artist, theatre maker, writer and curator from Balrampur, India. He is currently based in Amsterdam and holds a master's degree in theatre from DAS Theatre Amsterdam. His works bring Eastern perspectives to the Western discourse on socio-political issues. Pankaj is also the winner of the 3Package Deal award (2021-22) from the Amsterdam Fund for the Arts. Between 2020 and 2023, he worked as a curator for Gessnerallee Zurich. He is now the artistic director of Stichting Studio Current in Amsterdam. Both today and in the past, Pankaj's work has been invited and supported by several festivals and production houses. These include Steirischer Herbst Graz (2025), MC93 Bobigny (2025), Theater Rotterdam (2025), Kaaitheater Brussels (2024), DE SINGEL Antwerp (2023, 2024), Grand Theatre Groningen (2020, 2023, 2024). In 2024 Pankaj Tiwari previously appeared at the Kaaitheater in the production PaperPlanes, alongside Nick Verstand.
Pankaj Tiwari / CAMPO
GC De Kriekelaar
Schaerbeek
Show
The Harvest of Broken Promises
Urban Dance Caravan • Detours Festival
An overview of urban dance styles: breakdancing, house, Afro, electro, krump, juggling and more, all engaging in dialogue and facing off within a shared collective energy.
The now legendary Brussels celebration of urban dance returns this year in a slightly different format, centred at the Théâtre National. But whilst the format has changed slightly, the spirit remains the same: a joyful coming together of cultures.
This year, Urban Dance Caravan takes over the Théâtre National in its entirety and pays tribute to the Congo, Morocco and Cameroon thanks to collaborations with The Last Popper, the Centre Wallonie-Bruxelles, the Goma Dance Festival and Live Room. The evening begins in the foyer, transformed for the occasion into a cypher, before continuing in the Grande salle, where the finalist teams from the Detours Festival battle – co-creator of the event since 2022 – will face off to rapturous applause!
An overview of urban dance styles: breakdancing, house, Afro, electro, krump, juggling and more, all engaging in dialogue and facing off within a shared collective energy.
Coproduction Detours Festival, Théâtre National Wallonie-Bruxelles
With the support of Fédération Wallonie-Bruxelles service de la danse, la COCOF, la Loterie Nationale, la Ville de Bruxelles – Échevinat de la Culture
Théâtre National Wallonie-Bruxelles
Brussels
Show
Urban Dance Caravan • Detours Festival
Nocturne & Performance: Daughter’s Archive - Nebras Hoveizavi, Natasha Yarney & Jaber Al-Tobaishi
Daughter’s Archive is a live cinema performance for three performers, two languages, and one family’s unarchived history. The story follows the artist’s mother, an Arab-Iranian woman who built herself from nothing to become the first female licensed fabric wholesaler in Ahvaz, Iran, only to lose everything: her business, her home, and her place within her own family.
Daughter’s Archive is a live cinema performance for three performers, two languages, and one family’s unarchived history. The story follows the artist’s mother, an Arab-Iranian woman who built herself from nothing to become the first female licensed fabric wholesaler in Ahvaz, Iran, only to lose everything: her business, her home, and her place within her own family. Told in the first person, as if the mother herself is speaking, the narrative unfolds through two voices.
Nebras stands at a music stand, reading the text live in Farsi, while Natasha delivers the English translation in turn. Behind them, Jaber mixes live video and sound, projecting archival footage and filmed images that shift and evolve with the rhythm of the reading. The stage is minimal—a body, a stand, a screen, and sound—yet the performance moves between the live reading and the artist’s filmed image, layering time and memory into an intimate experience between cinema, live literature, and sound.
What we inherit. What we witness. What we keep.
Nebras Hoveizavi
Arab-Iranian artist and educator based in Qatar, working across experimental film, photography, installation, and poetry. Originally trained as a poet in Farsi, her practice explores displacement, memory, and the limits of language, transforming observation into a visual vocabulary. Her work has been exhibited internationally, including at Silent Green (Berlin), CICA Museum (Seoul), Whitechapel Gallery (London), and Cinema Iran (Munich).
Natasha Yarney
British Afro-Caribbean theatre practitioner and educator based in Qatar. With a background in drama and law, she specializes in performance and storytelling, exploring themes of identity, belonging, and memory. Her work bridges past and present experiences, using theatre as a space for dialogue and connection.
Jaber Al-Tobaishi
Multidisciplinary artist based in Doha, working with sound, music, moving image, and photography. His practice focuses on the interplay between audiovisual elements, rooted in analogue exploration and synthesis. He is the founder of MELD, a creative platform supporting artists in Qatar.
Nebras Hoveizavi, Natasha Yarney & Jaber Al-Tobaishi
argos centre for audiovisual arts
Brussels
Show
Nocturne & Performance: Daughter’s Archive - Nebras Hoveizavi, Natasha Yarney & Jaber Al-Tobaishi
it doesn't go without saying (& other gossips)
For the first time, Alix Eynaudi and Elizabeth Ward are working on a project together. So they have called upon dancer Ray Scheinecker. Their performance fantasizes about the legacy of American postmodern dance, and delves particularly deeply into the oeuvre and stories of choreographer and videographer Cathy Weis. In the work, they emphasize Paul Kotal's sound composition as an autonomous element: voices and vivid descriptions take the form of interviews and gossip, and they reflect together on archiving, accessibility, and collective memory.
The feeling that something is being passed on even before it has been passed on.it doesn't go without saying (& other gossips) is a project by Alix Eynaudi and Elizabeth Ward, together with dancer Ray Scheinecker, that fabulates on the legacy of US postmodern dance — specifically through the work and stories of choreographer and videographer Cathy Weis. Her voice runs throughout the piece in stories, interviews and gossip, where the anecdote becomes a way of sensing l'air du temps: what it held, what it let fall. The piece unfolds as a series of intimate tributes, in the movement, in the sound, the lights, and in the clothing.The studio never quite leaves the stage. Something ferments in the retelling — slipping between devotion and decoration, between what was practiced and what is performed, between the body that learned and the body that remembers. Not a reconstruction. Not a recovery of something lost. A turbulence, still working.Each of the three performers carries a different distance from Cathy's work. Elizabeth has been close for three decades — a student, yes, but also someone who has lived with her, helped her move houses, danced for her, conversed with her across a long friendship. Alix came to this history as a European dancer, through the people who carried it across an ocean — learning from those who had learned from Cathy, amongst others — the chain long enough that something is always already being reinterpreted, remade. Ray arrives from a different generation and a different formation entirely — Austrian, urban dance, clownery — and brings with her a resonance with Cathy's work that is less about lineage than about something more oblique, more bodily, harder to name. Three distances. Three intimacies.Cathy's stories, images, and recordings traveled from New York to Vienna — and it was through that retelling that the piece found its shape: Paul Kotal's sound design and composition, a clothing collection by Isabelle Edi somewhere between the Addams Family and the supposed neutrality of jeans, t-shirt, and sports shoes, and a light design by Lukas Kötz — a set designer, here working with light alone.We never dance alone.For Cathy Weis, with love. • Alix Eynaudi dances, works, and writes at the cutting edge of craftsmanship and chaos, through which she embraces a (mostly) joyful chaos. She never works alone; every event, every investigation, every invitation is a pretext to spend time with like-minded individuals – a network of friendships shimmering beneath the surface, a wave of wonder and support. She is specialized in choreographic encounters. Her most recent works include Death by Landscape, a concert (2024), Institute of Rest(s) (2023–2025), and it doesn’t go without saying (2026). Her work has been presented at MACRO, Rome; Tanzquartier, Vienna; Kaaitheater, Brussels; far° festival, Nyon; Xing, Bologna; Biennale di Venezia, Venice; Contemporary Art Centre, Vilnius; brut, Vienna; Volkskundemuseum, Vienna; Wiener Festwochen, Vienna; Wonderfruit festival, Thailand. She lives in Vienna. • Elizabeth Ward is an American dancer, choreographer, and occasional Outside Eye, based in Vienna. She began her training at the School of the Atlanta Ballet and earned a BA at Bennington College in Vermont, where she was taught by Cathy Weis and Dana Reitz. Her work has been shown in New York at Danspace, Movement Research at Judson Church, AUNTS, the Chocolate Factory, Dixon Place, and The Kitchen. Elizabeth has also performed for downtown choreographers such as Yvonne Meier, DD Dorvillier, Rebecca Brooks, Linda Austin, Miguel Gutierrez, Heather Kravas, and Cathy Weis. Since moving to Vienna, her work has been presented through brut, WUK, TQW, Wiener Festwochen, ImPulsTanz, and steirischer herbst.
Alix Eynaudi / Elizabeth Ward
Kaaistudio's
Brussels
Show
it doesn't go without saying (& other gossips)
Martyrio's saints & sinners: a southern gothic cabaret
UR Square is pleased to host Martyrio’s Saints & Sinners, a southern gothic cabaret experience. Join us for a campy evening led by junior pastor and senior drag performer Martyrio as a special prelude to Halloween. Tickets are available now through our online ticketing service.
Martyrio’s Saints & Sinners: Southern Gothic Cabaret
UR Square is delighted to present this campy, cabaret-esque evening led by junior pastor and senior drag performer Martyrio. Enter the catacombs of this glitz and glamour church and come get your communion.
Enjoy a carousel of Martyrio’s precious saints and tempting sinners performing their talents. Featuring a collection of international and national performers, from flamenco to pole dance tied in a bow of drag campiness as an amuse-bouche for your Halloween weekend.
Pricing: 11.00 EUR (Sinners - regular ticket) / 16.00 EUR (Saints - donation ticket)
Ticketing: https://fienta.com/martyrio-s-saints-sinners
UR Square
Ixelles
Show
Martyrio's saints & sinners: a southern gothic cabaret
Performance - ANAL Pompidou (a bottom-up initiative)
Somewhere deep inside the asshole of performance-artist Simon Van Schuylenbergh you can find a brand new cultural hub called ‘Anal Pompidou’. If you open-up a little more and go even deeper, the topics go further and the performances are wilder, there might be some audience participation of the worst kind, alongside an artisanal bakery and a weird collaboration with the quartier.
Anal Pompidou reflects on the rise and fall of cultural mastodons like KANAL Pompidou, the brand new museum, promised for more than 10 years to the citizens of Brussels in the old Citroën garage, pseudo-financed by a bankrupt Brussels Government. Anal offers you in
style some of the paradoxes the museum symbolizes and the effect it has on art-making and the community it promises to create.
Each night Anal opens the space, and brings 3 different artists active within the Brussels art-field. An eclectic mix of Theater, Dance, performance and visual arts put together in a cabaret setting.
Expect D.I.Y. special effects, meets homosexual desires, meets institutional-diarrhea, meets chaotic energy, meets unsubsidised haemorrhoids, meets you, the audience in the intimacy of the moment.
“i’m so high on art, but so low on money. High meets low, low meets high, where am i?”
Anal Pompidou (the alter-ego of Simon Van Schuylenbergh)
LaVallée
Molenbeek-Saint-Jean
Show
Performance - ANAL Pompidou (a bottom-up initiative)
Carlos Vaquera : Rien
Fou Rire
Ixelles
Show
Carlos Vaquera : Rien
Lundynamite
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
5€
Les Halles de Schaerbeek
Schaerbeek
Show
Lundynamite
Brigitte en Novembre
The current Belgian French-language choreographic scene
From now on, we will be dedicating the month of November at Les Brigittines to Belgian choreographic creation, and more specifically to artists from the Wallonia-Brussels Federation, bringing together both established names and exciting emerging talent.
For this second edition, five performances await discovery: five worlds, five distinct personalities, at the crossroads of dance, dance theatre, physical theatre and performance.
After months of rehearsals, Ahmed Ayed, Oumar Diallo, Delphine Friquet and Astéro Styliani Lamprinou will unveil their premieres. Benjamin Kahn, meanwhile, will make his Belgian debut with the production he created abroad several months earlier.
Five new dance works, all co-produced by Les Brigittines, tracing the diversity of choreographic creation in French-speaking Belgium.
Les Brigittines
Brussels
Festival
Brigitte en Novembre
Ballroom
Maison communale de Watermael-Boitsfort
Watermael-Boitsfort
Show
Ballroom
Work-in-progress • Africa is/in the Future
The festival continues its vital work of highlighting Black and Afro-descendant artistic initiatives in Brussels.
The festival continues its vital work of highlighting Black and Afro-descendant artistic initiatives in Brussels.
Over more than a decade, Africa is/in the Future has established itself as a space for artistic and festive convergence. A multidisciplinary festival, now organized by La Bellone, which no longer merely curates programmes but encourages dialogue between practices from different contexts. Open to all, it nevertheless extends an explicit invitation to Black and Afro-descendant people, originating from the African continent and the diasporas.
For this 11th edition, the festival underlines the need for constant, collaborative and complex redefinition as a prerequisite for a truly shared future.
At the Théâtre National, a discussion explore these fascinating ideas in greater depth. Four artists, invited by Marie Umuhoza, the festival’s programmer, share fragments of their research and works in progress. The conversation continues with a discussion between Sékou Séméga, artist and programmer at La Bellone, and the guest artists.
Coproduction Théâtre National Wallonie-Bruxelles
→ Complete programme on september 2026
www.africaisinthefuture.be
Théâtre National Wallonie-Bruxelles
Brussels
Show
Work-in-progress • Africa is/in the Future
The Sassy Cabaret
L'Os à Moelle
Schaerbeek
Show
The Sassy Cabaret
Jovany : Le dernier saltimbanque
Fou Rire
Ixelles
Show
Jovany : Le dernier saltimbanque
HOUB
In Arabic, houb means ‘love in all its forms’. In this performance, that love is manifested in a sisterly dialogue between the poetry of Zaïneb Ḥamdi and the turntablism practice of Soumaya Phéline Abouda. Drawing from her poetry collection Où mon amour sera ḥoub*, Zaïneb gives voice to pressing issues that engage both artists. An artistic, sensory cross-pollination emerges with Soumaya’s live orchestrated music. Poetry, music, and silence create space together for listening and shared vibration.
How can we describe our bodies if we have no language? In Arabic, ḥoub means ‘love in all its forms’. The root ح ب ب (‘ḥbb’) refers to the seed, the core, that which carries life within itself. The Houb of the title stands for a sisterly dialogue between the poetry of Zaïneb Ḥamdi and the turntablism practice of Soumaya Phéline Abouda. Drawing from her poetry collection Où mon amour sera houb*, Zaïneb Hamdi expresses urgent issues that engage both artists: the reappropriation of non-white bodies, their languages and history, withdrawal from the ‘systems of the Fathers’, and the rejection of any essentialization used as an instrument of power. Houb unfolds these poetic words in scenes, somewhere between confessions and incantations. Like an echo, the live orchestrated music behind the turntables becomes a full-fledged narrative that deconstructs and composes voices, textures, and samples and guides the breath of the poem. Zaïneb and Soumaya let a living language float between orality and sounds between them. They call for discursive plurality by inviting a voice from the world of poetry onto the stage at every performance, to allow a unique story – for the duration of a text – to resonate in the heart of the show. In a circular, science-fiction-like setting, Houb immerses the audience in an artistic, sensory cross-pollination in which poetry, music, and silence pave the way for listening and shared vibration. • Zaïneb Hamdi is a Belgian poet, writer, and performer. Fils d’Arabe, her first poetry collection, was published in 2017. In 2024, she published Où mon amour sera ḥoub, which was awarded the 2025 Les Grenades – Prix de la marraine literary prize, which recognizes a feminist work of poetry. Her texts explore otherness, the place of women, their relationships with masculinity, the body, and language, blurring the boundaries between the intimate and the collective. In addition to the written word, she is also active in the digital space of social media, where she creates short-form visual and auditory poetry that combine image, text, and video. On stage, she is developing a form of performance poetry that combines spoken word, recitation, and solo performance. Her shows have been presented at various cultural institutions, including La Bellone, Maison Poème, the Beursschouwburg, and the Palais de Tokyo. • Soumaya Phéline Abouda, originally from Brussels, is a sound artist, DJ, composer, and performer, active on Belgian and international stages since 2006. As a resident at Kiosk Radio, co-founder of the High Needs Low club nights, and co-organizer of Club Détour, she has positioned herself at the intersection of sound design and alternative electronic cultures. Her work explores the evolution of the DJ profession and the way in which the tools (CDJ, turntables, and mixer) can become true narrative and expressive instruments. She calls this approach CDJism, an extension of the turntablism from which she develops her gestures, physicality, and imagination. Through this exploration, she transforms the DJ performance into a space of active listening, improvisation, and composition in real time, in which every movement becomes an act of writing. Her sonic universe is characterized by a technical and organic exploration of sounds, combining deep basses, complex breakbeats, and polyrhythmic structures to create unique and ephemeral experiences. As a member of the ‘Psst Mlle’ feminist collective, she advocates for more diversity and inclusivity in electronic music.
Soumaya Phéline Abouda / Zaïneb Hamdi
Atelier 210
Etterbeek
Show
HOUB
Moya
Wolubilis
Woluwe-Saint-Lambert
Show
Moya
Le Sassy Show spécial Game Ovaires#8
Centre Culturel Jacques Franck
Saint-Gilles
Show
Le Sassy Show spécial Game Ovaires#8
Tijd van Toen
Bibliotheek Anderlecht
Anderlecht
Show
Tijd van Toen
Rectum Crocodile
Rectum Crocodile may sound like the title of a dark, unconventional novel but it is in fact a fabulous tale with characters parading around in splendour. Ghosts, people and beasts mingle, the trees speak and collectively this beautiful world tries to atone for a stubborn colonialism.
In the heart of a colonial plantation, living and dead creatures parade by and cross paths, guided by the mischievous and enigmatic voice of a child. Straight out of the carnivale-like imagination of the Caribbean, various figures face us while reciting poems and incantations. Rectum Crocodile is a magical tale, a political and danced fable that seeks to exorcise the ghosts of white supremacy in the 'New World'. Marvin M'toumo is both director and designer and here offers us a profound and feverish creation in which gestures mingle with words and the two merge into dance. The carefully designed costumes add to the wondrous dimension. Just as its creator, the piece sits at the intersection of several arts such as dance, performance, theatre and poetry. It draws on both on the European world of stage and the Caribbean fantasy worlds, both having history as a common thread. Amidst a lush plantation, nature and people question slavery, colonialism and all forms of domination. This dance poem is a polyphony of intersecting voices and bodies that is a both radiant and dazzling pamphlet against discrimination and oppression. Rectum Crocodile, produced in collaboration with Théâtre Varia, is both a roar and a manifesto. Dazzling and bold in its grandeur, the play evokes the colonial past and calls it to account. It underlines the importance of continuing to dig collectively into this shared heritage. • Marvin M'toumo is an artist whose unique poetry transcends academic distinctions between art, theatre, literature and fashion. He expresses his sensitivity in the fluidity of a practice without compartments and where he makes identities, stereotypes and archetypes the centre of a critical poetics full of symbols, humour and dramaturgy. He graduated from the École Nationale Supérieure de la Villa Arson in Nice in 2016 and the Haute Ecole d'Arts et de Design (HEAD) in Geneva in 2019. Rectum Crocodile is his second theatrical creation after Concours de larmes (2022), which he wrote, directed, performed and for which he designed the set and costumes. In fashion, he has worked with Chanel's Lognon atelier and the house of Jean Paul Gaultier.
Marvin M'toumo
Théâtre Varia
Ixelles
Show
Rectum Crocodile
Aline Olmos Steler — The Origin Of the Future
Dirty underwear, biological prophecies, and a new way of seeing the future: Aline Olmos Steler’s performance brings to life a universe of wet clairvoyance and delirious intimacy that teases the viewer with charismatic energy, and yet each time finds a way into the raw essence of human nature.
Even if billions of people produce vaginal discharge every day across the world, it has remained invisible and taboo for as long as we can remember. Olmos Steler’s artistic pursuit starts from there to take place in a museum exhibition, where dirty panties are put in golden frames, and the audience is invited to look into their smudges and interpret their omens.
Inspired by practices such as reading coffee grounds or the lines of a hand, the work invents “Dischargemancy” — a fictional divinatory practice based on reading vaginal discharge stains. On cotton surfaces, images begin to appear: a woman smoking a pipe, a dead duck, a landscape, a ghost.
The more one looks, the more one sees.
It is a performance that moves between theatre, exhibition, and clowning, born from the fear of one day looking at a stain and seeing only a stain.
Marking her first production with KVS Theatre, Aline Olmos Steler presents a work in progress at the Próximamente Festival, showcasing the piece in its final stage of development.
about
Aline Olmos Steler is a Brazilian theater director, clown, and performer based in Brussels. She holds bachelor’s and master’s degrees in Performing Arts from UNICAMP (Brazil) and recently completed a second master’s degree at DAS Theatre, Amsterdam. Her artistic practice is guided by accumulation and layering, using chaos, absurdity, and humor as forms of language. Interested in what lies at the margins, her research explores themes such as vaginal discharge, sleep, excrement, female masturbation, the non-sexualized vulva, and piracy. Moving between popular theater, clowning, and post-dramatic theater, her works often embrace a DIY aesthetic built from household materials, questioning who gets to be an artist and who gets to be an audience in late capitalism. Since 2019, she has co-directed the collective ultraVioleta_s in Brazil. She is a resident artist at Right About Now INC. (Netherlands, 2025–2026), has the support of Mestizo Arts Platform (Belgium), and is part of KVS Faces artists (Brussels, 2027–2031). Aline is currently developing the show The Origin of the Future (premiere in 2027).
https://www.instagram.com/aline.olmos/
Próximamente Festival showcases artists from Latin America and its diasporas in an invitation to spark conversation with Brussels’ artists. Próximamente, which translates to "soon" or "coming soon," embodies not only the anticipation of what's to come but also the closeness and connection it fosters.
https://www.instagram.com/proximamente.festival/
—
Conception and Direction Aline Olmos Steler Dramaturgy Mahsa Koochak and Laíza Dantas Performers Aline Olmos Steler, Laíza Dantas, and Mahsa Koochak Set design Renan Marcondes Lighting design Gabriele Souza Sound design Bartira Costume design Amanda Hedman Hagerstrom Playwright concept, revision and final version Aline Olmos Steler, Joachim Robbrecht, and Mahsa Koochak; with collaborations of Billy Mullaney for the Curator text, and written together with Carolina Nóbrega with excerpts from The Egg and the Hen by Clarice Lispector for the egg dialogue Creative Production Manager Laíza Dantas Produced by KVS Theater Support of Mestizo Art Platform, RIGHTABOUTNOW INC
Thanks to the artists and creative provocateurs who contributed to this process during its earlier stages: Tetembua Dandara, Paula Mirhan, Carolina Nóbrega, Giovanna Kelly, Leandro Souza, Charlissa Feller, Pero Manzé, Nahuel Cano, Billy Mullaney, Gabriela Fernandes, Marta Keil, Ingrid Vranken, Maarten van Hinte, and special thanks to Marjorie Boston Marjorie Boston for the support and enthusiasm.
image 2 © Tim Mai Tan
image 3 © Victoriano Moreno
image © Gabi Fernandes
image © Renan Marcondes
Beursschouwburg
Brussels
Show
Aline Olmos Steler — The Origin Of the Future
Endless Summer Camp
In Endless Summer Camp, Sophie Guisset extends her research into spaces of freedom and unexpected alliances. Drawing on her personal experience within scouting, she adopts its framework and structure but only in order to subvert its codes.
Welcome to a utopian summer camp for adults only, where performers create a temporary troupe and together explore desire, transgression and joy. Just as in the woods back then, the aim is to use one’s imagination to invent, build and organize a space for play, and to become one with the group.
Here, vice, perversion and self-transcendence are not taboos, but sources of pleasure and pride. The scouting spirit – facing the unexpected with ingenuity, being attentive to the world around us – becomes the driving force behind an intimate and collective exploration of desire and sexuality, experienced with vulnerability, humour and sensitivity.
Endless Summer Camp invites us to rethink our relation to desire and to imagine, together, new relational scenarios … and under the sun.
In Endless Summer Camp, Sophie Guisset extends her research into spaces of freedom and unexpected alliances. Drawing on her personal experience within scouting, she adopts its framework and structure but only in order to subvert its codes.
Welcome to a utopian summer camp for adults only, where performers create a temporary troupe and together explore desire, transgression and joy. Just as in the woods back then, the aim is to use one’s imagination to invent, build and organize a space for play, and to become one with the group.
Here, vice, perversion and self-transcendence are not taboos, but sources of pleasure and pride. The scouting spirit – facing the unexpected with ingenuity, being attentive to the world around us – becomes the driving force behind an intimate and collective exploration of desire and sexuality, experienced with vulnerability, humour and sensitivity.
Endless Summer Camp invites us to rethink our relation to desire and to imagine, together, new relational scenarios … and under the sun.
9€ / 12 € / 14 € / 16 € / 18 € / 20 €
Les Halles de Schaerbeek
Schaerbeek
Show
Endless Summer Camp
Danseprophétique àl’îlebizarre
Maison Poème
Saint-Gilles
Show
Danseprophétique àl’îlebizarre
In Petto - Duo clownesque
Archipel 19
Berchem-Sainte-Agathe
Show
In Petto - Duo clownesque
Performance : Les bandes à Matéo
Théâtre de la Parole
Auderghem
Show
Performance : Les bandes à Matéo
Drag Brunch au SERRA Brussels avec Bikini & Dina Price
SERRA Brussels’ Sunday Drag Brunch is back for a vibrant new edition hosted by Bikini, Queen of Good Vibes, joined by Dina Price. Expect live drag performances, singing, dancing, comedy and interactive games, alongside an unlimited sweet and savoury brunch buffet in a warm, inclusive atmosphere.
The Sunday Drag Brunch is back at SERRA Brussels for another colourful, fabulous edition.
Nominated for the visit.brussels Awards, this festive Sunday experience is hosted by Bikini, Queen of Good Vibes, recently seen on the Brussels stage in the musical Kinky Boots. This time, she’ll be joined by Dina Price.
Expect singing, dancing, comedy, live drag performances and interactive games guaranteed to turn your Sunday into a real fiesta. Between performances, tuck into an unlimited sweet and savoury brunch buffet prepared by the SERRA team, all in a warm, inclusive atmosphere filled with good vibes.
Whether you’re celebrating a birthday, a hen party, a special achievement with friends, or simply looking to beat the Sunday blues, it’s the perfect plan for a memorable afternoon.
A glass of cava will be waiting for you on arrival, and groups of six or more will receive a complimentary bottle.
Come hungry, come curious, and get ready for a glamorous, caliente and fabulously unforgettable brunch.
Practical information:
Date & time: Sunday, 22 November 2026, from 12pm to 3:30pm
Duration: 3.5 hours
Location: SERRA Brussels, 20 Place Charles Rogier, 1210 Brussels
Hotel Indigo Brussels City
Saint-Josse-Ten-Noode
Show
Drag Brunch au SERRA Brussels avec Bikini & Dina Price
Fabulation
Breathtaking? No doubt about it! An imposing structure rises, its forms like buildings to be climbed. Helmets firmly strapped to their heads, two female motorbikers climb them, before disappearing behind these mountains made of fabric.
In Fabulation, Gianna Sutterlet and Constance Bugnon combine their talents as aerialists and acrobats in a hybrid performance where circus arts blend with physical stunt work, and vice versa. The motorcycle becomes their central apparatus: sometimes a support for balance, sometimes a vehicle to provoke falls or flights. The live feats performed on stage leave you breathless and in awe. Yet every movement is calculated: as in the movies, special effects help erase the boundary between illusion and reality.
Fabulation subverts the traditionally masculine world of stunt work and seeks to create an acrobatic playground that is as liberating as it is joyful.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Breathtaking? No doubt about it! An imposing structure rises, its forms like buildings to be climbed. Helmets firmly strapped to their heads, two female motorbikers climb them, before disappearing behind these mountains made of fabric.
In Fabulation, Gianna Sutterlet and Constance Bugnon combine their talents as aerialists and acrobats in a hybrid performance where circus arts blend with physical stunt work, and vice versa. The motorcycle becomes their central apparatus: sometimes a support for balance, sometimes a vehicle to provoke falls or flights. The live feats performed on stage leave you breathless and in awe. Yet every movement is calculated: as in the movies, special effects help erase the boundary between illusion and reality.
Fabulation subverts the traditionally masculine world of stunt work and seeks to create an acrobatic playground that is as liberating as it is joyful.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 14 € / 16 € / 18 € / 20 € / 22 €
Les Halles de Schaerbeek
Schaerbeek
Show
Fabulation
Une tentative presque comme une autre
Clément and Guillaume Papachristou are twins. Dressed identically, they appear on a bare stage. The two twin bodies, one able-bodied, the other with cerebral palsy, begin a dance of embraces and separations. They embrace, cling to each other, and tussle. From a starting point of their intimate history and striking physical resemblance they explore the notions of the double, similarity and difference, and otherness.
In a shared experience both sensitive and humorous, they explore their feelings, their doubts, their individual realities and shared constraints. Between the physical resemblance of twinship and the physical difference caused by disability, the show highlights the search for an unexpected mutual support that is constantly (re)discovered. An intimate and deeply moving piece.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
* A ‘relax’ performance is an invitation to share culture in an inclusive environment that respects everyone’s needs.
Offering a caring, peaceful and relaxed atmosphere based on acceptance of everyone, the show itself remains the same.
The performance guidelines are simply relaxed slightly so that everyone can experience it in their own way (sound and light effects have been toned down slightly). The audience is free to move around or stay put, and to express their reactions spontaneously.
Clément and Guillaume Papachristou are twins. Dressed identically, they appear on a bare stage. The two twin bodies, one able-bodied, the other with cerebral palsy, begin a dance of embraces and separations. They embrace, cling to each other, and tussle. From a starting point of their intimate history and striking physical resemblance they explore the notions of the double, similarity and difference, and otherness.
In a shared experience both sensitive and humorous, they explore their feelings, their doubts, their individual realities and shared constraints. Between the physical resemblance of twinship and the physical difference caused by disability, the show highlights the search for an unexpected mutual support that is constantly (re)discovered. An intimate and deeply moving piece.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
* A ‘relax’ performance is an invitation to share culture in an inclusive environment that respects everyone’s needs.
Offering a caring, peaceful and relaxed atmosphere based on acceptance of everyone, the show itself remains the same.
The performance guidelines are simply relaxed slightly so that everyone can experience it in their own way (sound and light effects have been toned down slightly). The audience is free to move around or stay put, and to express their reactions spontaneously.
11 € / 16 € / 18 € / 20 € / 22 € / 24 €
Les Halles de Schaerbeek
Schaerbeek
Show
Une tentative presque comme une autre
STONE
“Everyone’s a lesbian.” Garance Maillot grabs hold of this joyfully direct statement with both hands and takes it as the starting point of a choreographic narrative about legacies. She draws on mourning, specifically of her grandfather, to explore the potential meanings of identifying as a lesbian today.
Chairs arranged around her personify presences. They call to mind figures long rendered invisible: Loïe Fuller, Jill Johnston, Lucinda Childs and Valeska Gert – all artists who have left their mark on dance and lesbian thought. Alongside these artists, Garance Maillot seeks answers with the audience: what does the word “lesbian” encompass? Can a lesbian or queer work be viewed simply as a work of art?
Surprising and illuminating, this one-woman show traces out a new lineage that unleashes transformative forces.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
“Everyone’s a lesbian.” Garance Maillot grabs hold of this joyfully direct statement with both hands and takes it as the starting point of a choreographic narrative about legacies. She draws on mourning, specifically of her grandfather, to explore the potential meanings of identifying as a lesbian today.
Chairs arranged around her personify presences. They call to mind figures long rendered invisible: Loïe Fuller, Jill Johnston, Lucinda Childs and Valeska Gert – all artists who have left their mark on dance and lesbian thought. Alongside these artists, Garance Maillot seeks answers with the audience: what does the word “lesbian” encompass? Can a lesbian or queer work be viewed simply as a work of art?
Surprising and illuminating, this one-woman show traces out a new lineage that unleashes transformative forces.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
9€ / 12 € / 14 € / 16 € / 18 € / 20 €
Les Halles de Schaerbeek
Schaerbeek
Show
STONE
Bocson
Avec Bocson, Juliette Chevalier déploie une œuvre chorégraphique pour six femmes en lutte, dans un univers de bâches, de tissus et de métal. Un pluralisme brut inspiré des paysages industriels du Nord (de la Belgique à la France), et des cataclysmes climatiques qui ont récemment ravagé cette région. Cette pièce engage les corps dans des territoires traversés et résilients. Entre carnaval, boxe et cultures populaires, elle tisse un manifeste sensible où les luttes intimes et collectives se répondent. Une danse de l’effort et de l’épuisement, entre effondrement et résurgence.
With Bocson, Juliette Chevalier presents a choreographic work for six fighting women, in a universe of tarpaulins, fabric and metal. A raw pluralism inspired by the industrial landscapes of the North (from Belgium to France), and by the climate disasters that have recently ravaged that region. This work engages bodies in territories that are travelled through and resilient. Between carnival, boxing and popular cultures, it weaves a sensitive manifesto, where intimate and collective fights respond to each other. A dance of effort and exhaustion, between collapse and resurgence.
La Drache
Charleroi danse / La Raffinerie
Molenbeek-Saint-Jean
Show
Bocson
PEOPLE
A master of materials, Claudio Stellato has already delighted us by juggling stacks of wood in La Cosa and playing eccentric handymen in Work. In People, he continues his exploration of unstable worlds through objects. Very quickly, the stage fills with a jumble of finds generously splattered with black paint, manipulated by characters caught in an emotional storm, overcome with screams, laughter and tears. Gradually, silhouettes and objects merge into a kind of large living sculpture that blends improvised celebration with frenzied ritual.
Drawing inspiration from people living on the streets and from obsessive accumulation, People reveals the unexpected poetry that emerges amidst the chaos. When the precarious balance of bodies and disorder reveals the beauty of human vulnerability.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
A master of materials, Claudio Stellato has already delighted us by juggling stacks of wood in La Cosa and playing eccentric handymen in Work. In People, he continues his exploration of unstable worlds through objects. Very quickly, the stage fills with a jumble of finds generously splattered with black paint, manipulated by characters caught in an emotional storm, overcome with screams, laughter and tears. Gradually, silhouettes and objects merge into a kind of large living sculpture that blends improvised celebration with frenzied ritual.
Drawing inspiration from people living on the streets and from obsessive accumulation, People reveals the unexpected poetry that emerges amidst the chaos. When the precarious balance of bodies and disorder reveals the beauty of human vulnerability.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 14 € / 16 € / 18 € / 20 € / 22 €
Les Halles de Schaerbeek
Schaerbeek
Show
PEOPLE
anger angels ETERNAL LETDOWN
Venezuelan choreographer Sophia Rodríguez, already familiar to Belgian audiences, and Austrian artist Teresa Vittucci, whose subversive humour has graced European stages, unite their worlds in a first collaboration – and one that’s not to be missed!
Anger Angels was born from their first meeting. This hypnotic and playfully offbeat production celebrates anger as a raw material and catalyst for collective energy. In a surreal office setting, two messenger angels receive and translate human fury. Through movement and voice, they give form to this long-invalidated emotion, especially when it comes from women.
Anger Angels undertakes a remarkable rehabilitation of rage, conceived with humour as a source of emotional relief. At the end of the day, a bit of anger does you good.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Venezuelan choreographer Sophia Rodríguez, already familiar to Belgian audiences, and Austrian artist Teresa Vittucci, whose subversive humour has graced European stages, unite their worlds in a first collaboration – and one that’s not to be missed!
Anger Angels was born from their first meeting. This hypnotic and playfully offbeat production celebrates anger as a raw material and catalyst for collective energy. In a surreal office setting, two messenger angels receive and translate human fury. Through movement and voice, they give form to this long-invalidated emotion, especially when it comes from women.
Anger Angels undertakes a remarkable rehabilitation of rage, conceived with humour as a source of emotional relief. At the end of the day, a bit of anger does you good.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 14 € / 16 € / 18 € / 20 € / 22 €
Les Halles de Schaerbeek
Schaerbeek
Show
anger angels ETERNAL LETDOWN
anger angels
Two angelic messengers navigate a surrealist landscape: there, they process human anger. In their first collaboration, Sophía Rodríguez and Teresa Vittucci confront us with the suppression of female anger. These ‘anger angels’ float, sing in otherworldly tongues, and interact with their corporate environment. A performance like a deep massage you didn’t know you needed.
Performance artists Sophía Rodríguez (born in Venezuela, based in Brussels) and Teresa Vittucci (born in Austria, based in Zurich) are collaborating for the first time. In a hypnotic, humorous, and physical performance, they investigate anger as a transformative force. Two angelic messengers navigate a surreal, corporate life-inspired landscape, processing human anger. They confront the suppression of female anger through movement and voice, creating unexpected interactions with the scenography, the audience, and each other. The performance feels like a deep massage of your connective tissue that you didn't know you needed: both unsettling and strangely reassuring. With sincere irony, hypersensitivity, and heavenly absurdity, Rodríguez and Vittucci channel anger into transcendental power; they float, sing in otherworldly tongues, and interact with their corporate environment. Have you ever heard a keyboard harmonize with a hole punch? Rodríguez and Vittucci revalue anger – and especially female anger – following its historical rejection as irrational or dangerous. By embracing the emotional, physical, and fluid, the 'anger angels' invite us to pause at an emotion burning beneath the surface and to witness its potential for healing and collective transformation. • Sophía Rodríguez (1984, VE/BE, she/her) is an actress, dancer, choreographer, and circus artist. She has studied circus, dance, and physical theatre in Venezuela (Universidad Experimental de las Artes), Cuba (Cuban National Circus School), and Switzerland (Accademia Dimitri). Her long-term exchange and training with David Zambrano has had a strong influence on her artistic practice. As a creator, she uses physical performance, embodied knowledge, voice, and improvisation as building blocks for energetic, feminist, and critical performances that always balance between disciplines. Kaaitheater previously presented her FRICTION (2023), in collaboration with Charleroi Danse. • Teresa Vittucci (AT/CH, she/they) is a Vienna-born artist who has lived in Zurich since 2015. In her contemporary dance performance, she explores feminist and queer perspectives on pop culture, history, and religion, using subversive humour as an important starting point. Teresa has been working since 2018 on Trilogy in Praise of Vulnerability, consisting of the solo works HATE ME, TENDER, SANE SATAN, and the duet DOOM with Colin Self. Other works include UNLEASH (2012), LUNCHTIME (2015), ALL EYES ON (2017), and WE BODIES, a collaboration with Michael Turinsky and Claire Vivianne Sobottke. Teresa also maintains strong artistic ties with Belgium, and regularly collaborates with Belgian performers and makers. Her work ALL EYES ON was presented at VIERNULVIER’s With Pleasure festival, and CAMPO showed HATE ME, TENDER, and DOOM. Her physical, confrontational, and deeply personal artistic signature not only resonates with Rodríguez’s work but also holds an important place in the Belgian performing arts landscape.
Sophia Rodriguez / Teresa Vittucci
GC De Kriekelaar
Schaerbeek
Show
anger angels
NEZ NOIR
Sitting at the end of a tightrope stretched between two anchor points, Estelle Samira Borel knits, dressed in a sheep costume. Her fingers work the wool as bleating sounds resonate. A scene that might seem charmingly rustic.
But behind this image, the tightrope walker offers an intimate and decolonial journey through Valais, the Swiss canton where she grew up. A territory whose racist legacy remains largely unacknowledged. For the woolly animal that accompanies her on stage is not just a simple pastoral costume: it is inspired by the Nez Noir, meaning “black nose”, those iconic two-toned sheep of the region, an allusion to the enduringly violent comparison between Black people and animals.
Estelle Samira Borel uses her acrobatic performance to grab hold of this comparison, turning the stigma around to create a powerful figure of resistance.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Sitting at the end of a tightrope stretched between two anchor points, Estelle Samira Borel knits, dressed in a sheep costume. Her fingers work the wool as bleating sounds resonate. A scene that might seem charmingly rustic.
But behind this image, the tightrope walker offers an intimate and decolonial journey through Valais, the Swiss canton where she grew up. A territory whose racist legacy remains largely unacknowledged. For the woolly animal that accompanies her on stage is not just a simple pastoral costume: it is inspired by the Nez Noir, meaning “black nose”, those iconic two-toned sheep of the region, an allusion to the enduringly violent comparison between Black people and animals.
Estelle Samira Borel uses her acrobatic performance to grab hold of this comparison, turning the stigma around to create a powerful figure of resistance.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
9€ / 12 € / 14 € / 16 € / 18 € / 20 €
Les Halles de Schaerbeek
Schaerbeek
Show
NEZ NOIR
Complicités Créatives / Creatieve Samenwerkingen – Carte Blanche
GC Ten Weyngaert
Forest
Show
Complicités Créatives / Creatieve Samenwerkingen – Carte Blanche
Nocturne Parade
Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp'd in his arm,
He holdeth him safely, he keepeth him warm.
Based on Goethe’s poem The Erl-King, Phia Ménard presents Nocturne (Parade), a magnificent fable about the power of childhood.
A child, clinging to his father on the back of a horse, senses an imminent deadly danger that the adult does not see, or refuses to see. It is a parable of our time, an era marked by profound neglect and abandonment.
In a circle of light, the wind blows, and shapes come to life. Inflated and moved by gusts of air, these makeshift puppets bring to life the sumptuous and poignant ballet of a world going off the rails.
Conceived as a journey through a dark tunnel, this piece immerses the audience in a dreamlike world where you perceive before seeing. By staging this sensory journey, the show invites the audience to take a stand against a threatening night. In this way, Phia Ménard magnificently challenges the ill winds and freedom-crushing forces of obscurantism.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Who rides there so late through the night dark and drear?
The father it is, with his infant so dear;
He holdeth the boy tightly clasp'd in his arm,
He holdeth him safely, he keepeth him warm.
Based on Goethe’s poem The Erl-King, Phia Ménard presents Nocturne (Parade), a magnificent fable about the power of childhood.
A child, clinging to his father on the back of a horse, senses an imminent deadly danger that the adult does not see, or refuses to see. It is a parable of our time, an era marked by profound neglect and abandonment.
In a circle of light, the wind blows, and shapes come to life. Inflated and moved by gusts of air, these makeshift puppets bring to life the sumptuous and poignant ballet of a world going off the rails.
Conceived as a journey through a dark tunnel, this piece immerses the audience in a dreamlike world where you perceive before seeing. By staging this sensory journey, the show invites the audience to take a stand against a threatening night. In this way, Phia Ménard magnificently challenges the ill winds and freedom-crushing forces of obscurantism.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 16 € / 18 € / 20 € / 22 € / 24 €
Les Halles de Schaerbeek
Schaerbeek
Show
Nocturne Parade
La Belle Epoque de Noël
From 27 November to 6 December 2026, over 10 evenings, Tour des Sites Organisation presents *LA BELLE ÉPOQUE DE NOËL*. This 180° narrative show draws its inspiration from the history of Brussels in 1900 during the festive season. This grand Christmas tale will see performers take to the stage inside the Ixelles church, surrounded by giant projected images.
LA BELLE EPOQUE DE NOEL is a spectacular show staged inside the Church of Sainte-Croix in Ixelles, spanning 180°. This immersive show runs from 27 November to 6 December 2026.
The show brings to life the history, traditions and spirit of the city through an immersive visual and audio narrative designed to enhance the interior of the Sainte-Croix Church. Every evening, from 27 November to 6 December, this artistic creation will come to life in this prestigious venue.
Conceived as a true sensory journey, this show will combine video mapping, visual effects, lighting and artistic performances. The aim is to highlight the church’s spaciousness, architectural details and unique atmosphere, whilst telling the story of Brussels and Ixelles during the Belle Époque through a poetic and contemporary approach.
Actors and performers portraying characters from the Belle Époque are a constant presence in this show. They will be at the heart of the action whilst truly bringing the story to life
Eglise Sainte-Croix
Ixelles
Show
La Belle Epoque de Noël
MOLE
A woman in her room. She’s decided to end it all. Her Opinel kitchen knife isn’t sharp enough, the Ikea mirror refuses to break, and the suicide hotline won’t answer. Death isn’t playing along that night.
Around this starting point of gross failure, Carla Margarita Manrique builds a show that completely defies classification, simultaneously a lecture and a horror movie, a buffoonish personal testimony and an endoscopic journey. The subject of suicide is broached as a contentious issue that has been theorised on since antiquity, and presented through a deliberately unstable dramaturgy. Reflecting the constant oscillation between life and death experienced by those who contemplate it.
A trained Circassian dancer, Carla Margarita Manrique suspends her body from fake intestines, re-enacting the absurd with precision. Her tool: humour. Not to evade, but to heal. “If I don't turn it into a joke, it will destroy me.” A way to stand proud and poised on a razor-thin line.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
A woman in her room. She’s decided to end it all. Her Opinel kitchen knife isn’t sharp enough, the Ikea mirror refuses to break, and the suicide hotline won’t answer. Death isn’t playing along that night.
Around this starting point of gross failure, Carla Margarita Manrique builds a show that completely defies classification, simultaneously a lecture and a horror movie, a buffoonish personal testimony and an endoscopic journey. The subject of suicide is broached as a contentious issue that has been theorised on since antiquity, and presented through a deliberately unstable dramaturgy. Reflecting the constant oscillation between life and death experienced by those who contemplate it.
A trained Circassian dancer, Carla Margarita Manrique suspends her body from fake intestines, re-enacting the absurd with precision. Her tool: humour. Not to evade, but to heal. “If I don't turn it into a joke, it will destroy me.” A way to stand proud and poised on a razor-thin line.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
9€ / 12 € / 14 € / 16 € / 18 € / 20 €
Les Halles de Schaerbeek
Schaerbeek
Show
MOLE
MOLE
Le 140
Schaerbeek
Show
MOLE
The Mystery Cabaret - Magie
Le Petit Chapeau Rond Rouge
Etterbeek
Show
The Mystery Cabaret - Magie
Assis sur ma chaise
Le Senghor - Centre Culturel d’Etterbeek
Etterbeek
Show
Assis sur ma chaise
Ça marche. HAPPY END
HAPPY END is a stage piece with deaf teenagers, exploring adolescence as a threshold where celebration meets loss and identity forms amid uncertainty. On stage, they gather to create a shared rhythm: not conventional music, but a way of organizing time through bodies, gestures, and attention. In this fragile space, deafness shifts perception and redefines listening and communication. Meaning emerges across sign, gaze, and movement. As stories unfold without closure, the piece sustains motion rather than resolution. In a world that feels unstable, these teenagers insist on being together, inventing forms of relation that keep something alive, even when the future is unclear.
Direction & Authorship: Nico Jongen
In collaboration with: Berta Frigola
Dramaturgy: Roberto Fratini
Performers: Laura Galiano, Melih Hayran
Lights: Júlia Bauer
Sound: Dudu Alves Technical coordination: José Pablo Parra Vargas
Sign Language interpreter: Laura Bada
Production & administration: Lluís Victory Cirrer, Mariona Signes
Coproduction: Bozar Brussels, Fundação Serralves Porto, Teatre Liure Barcelona, Teatro
Calderón Valladolid, Nau Ivanow & Ça marche
With the support of Casal Font d'en FargasIn the framework of the 'PIT - Perform, Inform, Transform: Participatory Performance in Art Museums' project, co-funded by the European Union.
Bozar - Centre for Fine Arts
Brussels
Show
Ça marche. HAPPY END
Lundynamite
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
6€
Les Halles de Schaerbeek
Schaerbeek
Show
Lundynamite
Corps tendres • Lucie Yerlès
How do we perceive the world through our skin? Lucie Yerlès and her team present a rich sensory experience that blends circus, theatre and dance.
How do we perceive the world through our skin? Lucie Yerlès and her team present a rich sensory experience that blends circus, theatre and dance.
As a circus artist, Lucie Yerlès became aware of a disconnect between her own experience of touch – daily, technical – and that which prevails in our Western societies, where physical contact remains largely confined to the private sphere. What does it mean to touch or be touched? Whether on a circus ring or a stage, it is above all a necessity: acrobatic lifts, hand-to-hand feats and parades require keen listening skills and a sense of physical responsibility. This physical connection is as much a tool as it is a risk.
Corps tendres draws on this contrast: four circus artists and a musician present an immersive performance
set in a gentle, adaptable landscape. The project emerged from preliminary research conducted with amateurs during workshops. It is therefore not merely a matter of admiring the artists’ virtuosity, but of shifting our perspective on physical closeness to reveal its unsettling complexity.
Coproduction Théâtre National Wallonie-Bruxelles
Théâtre National Wallonie-Bruxelles
Brussels
Show
Corps tendres • Lucie Yerlès
histoire(s) • Olga de Soto
What remains of a performance once the final applause has died away?
What remains of a performance once the final applause has died away?
On 25 June 1946, at the Théâtre des Champs-Élysées in Paris, the premiere of the ballet Le Jeune homme et la mort, conceived by Jean Cocteau and choreographed by Roland Petit, took place. Sixty years later, Olga de Soto has chosen, not to reconstruct the work, but to collect its echoes.
True to her penchant for work on how we remember history, the choreographer conducts a sensitive investigation based on unexpected material: the memories of the audience members present that evening. Their accounts, inevitably fragmentary and sometimes contradictory, form a touching reconstruction. Was dancer Nathalie Philippart wearing a red or black cape? Were the virtuoso Jean Babilée’s leaps dazzling or suspended? How accurate these accounts are is less important than the variations that make this narrative a vehicle for transmission, somewhere between dance and documentary performance, a place where collective memory becomes a living work. histoire(s) reveals what transcends time and endures in the hearts of those who witnessed it.
Copresentation Charleroi danse
Théâtre National Wallonie-Bruxelles
Brussels
Show
histoire(s) • Olga de Soto
GREEN/ORANGE/RED
For this creation with the graduating class of Brussels’ Superior School of Circus Arts (ESAC), Side-Show brings to the stage an iconic figure of the street: the circus at the red light. An urban activity that is somewhat punk, ephemeral and wild, what does it become once invited onto the theatre stage?
Under the watchful gaze of Aline Breucker and Quintijn Ketels, the stage transforms into a life-sized crossroads. Here, the spectacular lies not only in the act but in the waiting: the raw beauty of a group standing motionless at a pedestrian crossing, the urgency of a 60-second act – the duration of a red light – and the poetry of everyday life when it departs from the ordinary.
True to the “relaxed” approach cultivated by Side-Show, the show questions our perceptions of performance. Between the act-shaping power of speed and the delicacy of the collective, where does the spectacular lie?
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
For this creation with the graduating class of Brussels’ Superior School of Circus Arts (ESAC), Side-Show brings to the stage an iconic figure of the street: the circus at the red light. An urban activity that is somewhat punk, ephemeral and wild, what does it become once invited onto the theatre stage?
Under the watchful gaze of Aline Breucker and Quintijn Ketels, the stage transforms into a life-sized crossroads. Here, the spectacular lies not only in the act but in the waiting: the raw beauty of a group standing motionless at a pedestrian crossing, the urgency of a 60-second act – the duration of a red light – and the poetry of everyday life when it departs from the ordinary.
True to the “relaxed” approach cultivated by Side-Show, the show questions our perceptions of performance. Between the act-shaping power of speed and the delicacy of the collective, where does the spectacular lie?
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Les Halles de Schaerbeek
Schaerbeek
Show
GREEN/ORANGE/RED
La Barakakings
Les Riches-Claires
Brussels
Show
La Barakakings
Grand Brussels Christmas Circus
Welcome to the 15th edition of the Grand Brussels Christmas Circus at the Flagey Square in Ixelles, featuring a brand-new show created by Alexandre Bouglione!
For this anniversary edition, no effort or expense has been spared to deliver an even more spectacular and unforgettable experience.
Join us for this annual celebration of circus magic in Brussels, with a completely new show specially designed for the holiday season. Be amazed by outstanding international performers, including a ventriloquist appearing in Brussels for the very first time, an award-winning clown from the International Circus Festival of Monte Carlo, as well as world-class illusionists, trapeze artists, and balancing acts.
Set in a magical Christmas atmosphere and a truly enchanting circus world, enjoy 1 hour and 45 minutes of pure wonder, brought to life by the unique artistic vision of Alexandre Bouglione.
Celebrate the holiday season with us and create unforgettable memories with family and friends!
Circus Alexandre Bouglione
Ixelles
Show
Grand Brussels Christmas Circus
Sassy Cabaret de Noël
Le 140
Schaerbeek
Show
Sassy Cabaret de Noël
Et Hop !
Le Senghor - Centre Culturel d’Etterbeek
Etterbeek
Show
Et Hop !
All the Way Around
In this dance performance and jazz concert, Meg Stuart, bassist Doug Weiss, and pianist Mariana Carvalho embark on a journey through movement and sound – without a roadmap. Starting from the ballad (a song of longing and resistance), the performance unfolds in spirals of memory and leaves us navigating between what we almost remember and the unknown.
In All the Way Around – simultaneously a dance performance and a jazz concert – Meg Stuart, bassist Doug Weiss, and pianist Mariana Carvalho meet. Together, they embark on a journey through movement and sound – without a roadmap. Emese Csornai’s lighting design becomes a fourth player, adapting to the unpredictable elements of each location, again and again. The performance starts from the ballad (a song of longing and resistance), and breaks it open into small but meaningful gestures. All the Way Around unfolds in spirals of memory, opening a door that brings our collective experiences back toward something individual. This is how we navigate between what we almost remember and the unknown. “When Meg and I ‘play’ together, I start primarily from memories, even nostalgia, with the ultimate goal of reaching the point where the piece simply flows in, out, and around us. In a sense, we erase memories and nostalgia with new experiences. Or we transform bodily and musical memories into the present, creating a new dialogue between dance and music.” — Doug Weiss, in conversation with Kerstin Schroth • Meg Stuart is a choreographer, director, and dancer. She lives and works in Berlin and Brussels. She has created over thirty productions with her company Damaged Goods (founded in 1994), ranging from solos and duets to choreographies for multiple dancers, video works, site-specific projects, and improvisation projects. Recent creations include steal you for a moment (2024) and GLITCH WITCH (2024), both presented by Kaaitheater. Stuart’s work moves freely between dance, theatre, and visual arts, and is fuelled by ongoing dialogue with artists from different disciplines. Through fictions and narrative layers, she investigates how dance can lead to transformation and recovery. Improvisation forms an essential part of Stuart’s practice, serving as a strategy to activate and explore physical and emotional states – or the memory of them. • Doug Weiss (US/DE) is an acoustic bassist based in Berlin and New York. For thirty years, he has effortlessly maintained the groove and made it swing. From 1996 to 2020, he was the bassist and musical director of the Al Foster quartet. In addition, he is a member of Brian Blade’s Lifecycles, the Peter Bernstein Quartet, and Seamus Blake’s group. Weiss leads his band The Berlin Quartet as composer, arranger, and bandleader; the group recently released their debut album, Drawn From Life. Weiss is also active as a teacher and has taught at The New School, SUNY Purchase, and the Jazz Institut Berlin. He is currently affiliated with the Maastricht Conservatorium. • Mariana Carvalho (BR/DE) is a performer, sound artist, improviser, and musician. She works with the body, voices, listening, relationships, inner sounds, and prepared piano. She is part of Sonora – músicas e feminismos and GEXLAT. She is currently pursuing a Master in Sound Studies and Sonic Arts at the Universität der Künste (UdK) Berlin and is a tutor at the Soundscape Project at Technische Universität (TU) Berlin. She obtained a Bachelor in Piano from the Universidade de São Paulo, where she was part of NuSom – Núcleo de Pesquisas em Sonologia and Orquestra Errante.
Meg Stuart / Doug Weiss
Charleroi danse / La Raffinerie
Molenbeek-Saint-Jean
Show
All the Way Around
Heka
Centre Culturel d'Uccle
Uccle
Show
Heka
Tinieblas
Everything on our continent has been mapped out: forest paths are signposted, routes described precisely in travel guides. Connected to thousands of satellites orbiting our planet, we find our way without looking around us. Where and how can we get lost today? How about in the theatre? A polyphonic story that mimics real events. Or are they situations that have existed only in our collective imagination: legends, stories, rumours...? A performance between the slowness of the walking human and the dizzying speed of the imagination.
In Spanish, ‘Tinieblas’ means something like ‘lack of light’. It also contains the word ‘nieblas’, which in turn means ‘mist’ or ‘fog’. Niebla is also the name of the birthplace of Edurne Rubio’s grandfather. In her performance, she presents a collection of tales about people who get lost.A polyphonic story that mimics real events. Or are they situations that have existed only in our collective imagination: legends, stories, rumours...? We live on a continent that has been fully mapped out. Forest paths are signposted and routes described precisely in travel guides. Connected to thousands of satellites orbiting our planet, we find our way without really looking at the world around us. Where and how can we get lost today? How about in the theatre?Tinieblas is a performance in which the audience gets lost, is found again, and gets lost once more. The theatre becomes the centre of an area, a place with its own geographical coordinates. At the same time, the spectators form a single, distinct body in motion, like the murmur of starlings. It is a sensory experience that constantly maintains the tension between inside and outside, between the slow pace of a walking human and the dizzying speed of the imagination, capable of teleporting us in the blink of an eye. • As a visual artist working with a wide range of media and formats, Edurne Rubio (Burgos, 1974) presents her work in a variety of contexts: in theatres, film festivals, exhibitions, and public spaces. She creates situations that generate tension between what we see and what we hear, moving within them between the present, memory, and imagination. With her strong fascination for oral storytelling, she constructs collective narratives from individual stories, offering a subjective reading of history – one shaped by emotion, in constant flux.Her new work for the theatre, Tinieblas (2026), builds on the research she conducted in A Nublo (2021), performances about natural phenomena created in collaboration with artist Maria Jerez, as well as in Light Years Away (2016), about the darkness of caves, which she has presented in a variety of European theatres, including Kaaitheater.During the making of Tinieblas, Edurne Rubio made a film called Los huesos no flotan (2026), which was shown at Wiels as part of Europalia España.
Edurne Rubio
Kaaistudio's
Brussels
Show
Tinieblas
Newroz
La Vénerie, Espace Delvaux – Centre Culturel de Watermael-Boitsfort
Watermael-Boitsfort
Show
Newroz
Surveillée et Punie
Les Halles de Schaerbeek
Schaerbeek
Show
Surveillée et Punie
Bouchra Ouizguen. Qunfudh
Bozar - Centre for Fine Arts
Brussels
Show
Bouchra Ouizguen. Qunfudh
Poisson Blanc
Le 140
Schaerbeek
Show
Poisson Blanc
Lulu's Baby
Inspired and repelled by their own experiences, Sahar Rahimi and Lucy Wilke turn towards posthumanist utopias where human beings are created outside of the human body, and thus outside the uterus—a topic as old as humanity itself. Drawing on horror films and operating rooms, Lulu’s Baby is an ironic, utopian vision of the future that playfully invites us, through images both unsettling and beguiling, to reflect on the possibilities of community beyond gender constraints and maternal roles.
Lucy Wilke and Sahar Rahimi’s long-standing collaboration is rooted in a shared interest in marginalised female characters, the themes of disability and power, and body horror films. In their fourth joint production, they explore the themes of pregnancy, childbirth, motherhood and the desire to have children. Inspired and repelled by their own experiences, Rahimi and Wilke turn towards posthumanist utopias where human beings are created outside of the human body, and thus outside the uterus—a topic as old as humanity itself. Since animal experiments with sheep have already partially succeeded in mimicking uteruses, an ancient mythological theme could very well become reality. What consequences do these developments have for ethics and gender roles? Could pregnancy and birth outside the human body finally free the female* body from the burden of reproduction and thus represent a step towards gender equality? Would people who have been denied parenthood thus far finally be given the opportunity to start a family? Or would artificial uteruses deprive women* of the last bastion that has not yet been hijacked by a patriarchal-capitalist value system—the ability to give birth. Drawing on horror films and operating rooms, Lulu’s Baby is an ironic, utopian vision of the future that playfully invites us, through images both unsettling and beguiling, to reflect on the possibilities of community beyond gender constraints and maternal roles. • Lucy Wilke is an award-winning actress, singer, and dancer based in Munich. A permanent ensemble member of the Münchner Kammerspiele since 2020, she is known for her visionary, body-positive performances. Her work, including the acclaimed Scores that shaped our Friendship, earned her the prestigious Der Faust award and an invitation to the Berliner Theatertreffen. She also tours Europe with her band, blind and lame. • Sahar Rahimi, (°1981, Tehran, Iran) is a director, author, performance artist and curator. Her work straddles the boundaries between theatre, performance, installation, and video. She studied at the Institute for Applied Theatre Studies in Giessen and is co-founder of the performance group Monster Truck which received the prestigious Tabori Prize for its entire oeuvre. As a solo artist, Sahar Rahimi has staged several productions at venues across Europe. Together with Mark Schröppel she is artistic director of Brechtfestival Augsburg.
Lucy Wilke / Sahar Rahimi
Kaaistudio's
Brussels
Show
Lulu's Baby
Douce révolution
Maison Haute
Watermael-Boitsfort
Show
Douce révolution
Lundynamite
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
5€
Les Halles de Schaerbeek
Schaerbeek
Show
Lundynamite
The fold of a ^ landscape
Folding proves to be a transformative action: a body, an object, a space, a moment, a light, or a sound can fold into, around, or on top of something else. In this performance, Heine Avdal & Yukiko Shinozaki create actions as a continuous system of folding and unfolding: folds that extend themselves over a space or a landscape. Unfolding is not the opposite of folding, but a continuation. One fold always leads to another.
This performance emerges from investigations by Heine Avdal & Yukiko Shinozaki into folding and unfolding – an approach that shapes how bodies move, position themselves, and relate to space. The piece invites us to take a collective moment of reflection. Different ways of coming together suddenly become visible: as a group, as individuals, or through our shared existence. In the absence of familiar habits and fixed structures, the performance asks: what brings us together? In this project, Avdal and Shinozaki approach the body, movement, and both inner and external spaces as a dynamic landscape. A landscape that can be bent, folded, and unfolded. Folding proves to be a transformative action: a body, an object, a space, a moment, a light, or a sound can fold itself into, around, or on top of something else. These actions create a continuous system of folding and unfolding: pleats that extend over a space or a landscape. Unfolding is not the opposite of folding, but a continuation. As in origami, one fold always leads to another. The performance unfolds through shifting relationships between space and movement, offering ever-changing situations rather than a fixed narrative. Stability and uncertainty coexist. Instead of relying on order and repetition, the work enables difference and ambiguity to shape our connections. • Heine Avdal and Yukiko Shinozaki are choreographers/performers. They have been working together since 1996 and founded the company fieldworks together. The desire to reimagine the relationship of the body with its environment lies central to their work – as is inviting the audience into that (unfolding) discovery. Their practice is driven by a curiosity about how performance art can reshape our understanding of the human body and our daily environment. They explore the invisible architectures – social, physical, and perception-oriented – that shape our movement through movement, across public and private environments. Their subtle interventions and delicate displacements reveal hidden choreographies and invite us to approach the familiar and the well-known anew, with fresh eyes. Fieldworks has created more than 35 productions, which have toured in over thirty countries worldwide. www.field-works.be
Heine Avdal / Yukiko Shinozaki / fieldworks
GC De Kriekelaar
Schaerbeek
Show
The fold of a ^ landscape
Mónica Valenciano. ENSAYOS PARA NADA Y AVE
Choreographer, dancer, poet and painter Mónica Valenciano is a Spanish National Dance Prize winner. Her career intersects with that of other renowned Spanish artists such as Ana Buitrago, Olga Mesa, La Ribot, Blanca Calvo... Since founding her company, El Bailadero, in 1997, her work has been presented at national and international festivals, on stage, and in contemporary museums and galleries. Beside her performative work, she has published several books of poetry and drawings, and she teaches performance theory and practice, making her a key figure in today's experimental and activist art scene.
ENSAYOS PARA NADA Y AVE (ESSAYS FOR NOTHING AND A BIRD) is her first appearance at Bozar and is a coproduction between Bozar and TEA - Tenerife Espacio de las Artes.In the framework of the 'PIT - Perform, Inform, Transform: Participatory Performance in Art Museums' project, co-funded by the European Union
It is a setting into play, unfolding through 22 cards - or images to be revealed in situ.
To un-fold the voice of the hidden body within the body that dances, in search of that polyphony that, rather than explaining, involves ways of inhabiting the very happening itself - within - behind - beneath - between - with what is there.
Blinks of a shared presence and song; among the movement of images, multiple planes and unexpected relations will be shuffled, un-covering passages where situations emerge to explore the fabric capable of holding a spark = an event.
· To let that call be seen, in which something presents itself?
· To generate the potentiality of happening as a mode of emergence?
· How to bring forth the possibility of that space-time?
· Or ... .. . ... .
"The event hides itself folded in the passage between one movement and another; thus every instant is potentially a door that opens..."
(Pascal Quignard)
2025 - M.V.
Bozar - Centre for Fine Arts
Brussels
Show
Mónica Valenciano. ENSAYOS PARA NADA Y AVE
Chauv·e
Le 140
Schaerbeek
Show
Chauv·e
Luc Langevin – L’Illusionniste
Luc Langevin returns with a breathtaking new spectacle with flawlessly executed grand illusions—a journey into the duality of head and heart that sparks the imagination.
Illusionist Luc Langevin brings his brand-new show to Forest National. ‘Là Où L'Impossible Prend Vie’ is a stunning blend of impressive illusions, mesmerizing lighting effects, and enchanting music. Created alongside his longtime collaborator Stéphane Bourgoin, the show is an unforgettable experience that transcends reality!
Forest National
Forest
Show
Luc Langevin – L’Illusionniste
The Clash Machine
The Clash Machine was formed when a group of unconventional artists from the worlds of dance and Belgian wrestling met. At Kaaitheater, they will present their first real show: a performance pumped full of synthetic hormones that blurs fiction and reality. While the classic hero-vs-villain narrative remains on the program, the collective reclaims the narratives surrounding violence and, through wrestling, inspires the audience to fight back in the face of neo-fascist tactics.
The Clash Machine is a collective that emerged when a group of unconventional artists from the worlds of dance and Belgian wrestling worlds met. Members of BYWS (Brussels Young Wrestling Style) reclaim brutality and conflict. Trained by coach Nsimba (aka Shao aka Cowboy pas fatigué, a star of Belgian and Congolese wrestling), they question violence with their performance. Previously, they fought it out at techno parties, benefit nights, and neighbourhood festivals. Now, The Clash Machine presents their first real show: a whirlwind performance pumped full of synthetic hormones. Through the art of wrestling, they blur the boundaries between fiction and reality. The Clash Machine breaks the fourth wall with a barrage of punches, creating connective, loud, exuberant, and sweaty moments. In the ring, they play with the usual wrestling dichotomy: heroes versus villains (babyface versus heel), a narrative onto which the audience can project their own emotions, as a form of catharsis. Driven by the urgency of the present and true to the spontaneity of the wrestling world, The Clash Machine allows itself to be transformed by the reality that storms into the performances. In a broader sense, The Clash Machine comments on neofascism employing tactics similar to those of wrestling: creating distance from its violence and sensationalizing it, while also playing with the boundaries between fiction and reality. In response, the collective reclaims the narratives surrounding violence and, through wrestling, inspires the audience to fight back. • Loü Viret, also known as L’Bouro du Bitume, has been dancing since childhood. Now he wants to reinvent dance by pushing its boundaries; he enjoys dancing just as much at parties as at demonstrations, on theatre stages or (as in this case), in the ring. • Violette Lacroix, although everyone calls her Vio. In the ring, she is the romantic Marry Me Nathalie. Before she started wrestling, she took lessons in the ‘catwalk’ category of ballroom dancing at the Kiki House of Gabbana. • Justine Richard, performer and poet, is occasionally possessed by Mimi la Rage, a brawler and notorious cheat, who storms the ring to crush bones under her platform soles. • Aimé Gaster, also known as Erotiko, grew up on the streets of Marseille. He is an agitator, a troublemaker, a dancer, and a wrestler who captivates the audience as much with words as with his body.
The Clash Machine (Aimé Gaster, Justine Richard, Vio Lacroix, Loü Viret + guest MC)
GC De Kriekelaar
Schaerbeek
Show
The Clash Machine
Lundynamite
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
Lundynamite Season 4. As with any good series, there are some new developments. La Balsamine is joining forces with our partners (Le Théâtre de la Vie, Les Halles de Schaerbeek, Metarage and Le BAMP) to organise and curate the Lundynamite evenings!
One Monday evening a month, from October to May, discover three artistic offerings: deliberately different, sometimes strange, often a work in progress, experimental or even almost complete. A bit like a surprise egg but with three gifts inside – what a treat. Enough to fill up on adventurous new art and treat you to Mondays of discovery worthy of a Friday night. Lundynamite is also about discovering or rediscovering venues in Schaerbeek, Saint-Josse and Saint-Gilles, or even further afield if the mood takes us and we’re welcomed. The detailed programme is available on our partners’ websites, as well as on social media, a few days before the explosive Monday.
6€
Les Halles de Schaerbeek
Schaerbeek
Show
Lundynamite
Ces mouvements que je n’aurais jamais pu faire
Tokyo, 1991. Mike Powell soars to break a record that has stood, unsurpassed, for thirty-five years.
Nagano, 1998. Surya Bonaly performs a banned backflip, offering the audience a bold statement of resistance.
Cleveland, 2014. Tamir Rice, aged 12, is shot dead by a white police officer in less than two seconds.
One unstoppable movement. One forbidden movement. One shameful movement.
Ces mouvements que je n’aurais jamais pu faire [These Movements I Never Could’ve Made] crosses time and bodies to call into question what our societies celebrate, condemn or erase. The documentary choreographic narrative unfolds in dialogue with dancers Arno Ferrera and Charles Ngombengombe, krump dancer Kenza Deba, poet Lisette Lombé and sound artist Rokia Bamba, as well as with the collaboration of Mike Powell, Surya Bonaly and Samaria Rice.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Tokyo, 1991. Mike Powell soars to break a record that has stood, unsurpassed, for thirty-five years.
Nagano, 1998. Surya Bonaly performs a banned backflip, offering the audience a bold statement of resistance.
Cleveland, 2014. Tamir Rice, aged 12, is shot dead by a white police officer in less than two seconds.
One unstoppable movement. One forbidden movement. One shameful movement.
Ces mouvements que je n’aurais jamais pu faire [These Movements I Never Could’ve Made] crosses time and bodies to call into question what our societies celebrate, condemn or erase. The documentary choreographic narrative unfolds in dialogue with dancers Arno Ferrera and Charles Ngombengombe, krump dancer Kenza Deba, poet Lisette Lombé and sound artist Rokia Bamba, as well as with the collaboration of Mike Powell, Surya Bonaly and Samaria Rice.
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 14 € / 16 € / 18 € / 20 € / 22 €
Les Halles de Schaerbeek
Schaerbeek
Show
Ces mouvements que je n’aurais jamais pu faire
Une petite fête - Cabaret de la dissidence
Le 140
Schaerbeek
Show
Une petite fête - Cabaret de la dissidence
JIMMY CARR: LAUGHS FUNNY
Jimmy Carr is coming to Forest National with “Jimmy Carr: Laughs Funny.” Rapid-fire one-liners fly in this interactive show, keeping the audience engaged from start to finish.
Jimmy Carr is known for his uncompromising comedy, dry humor, and lightning-fast interaction with the audience. He has become one of the UK’s best-known comedians. A regular on popular TV panel shows, Jimmy Carr now brings a stream of sharp observations to his audience at Forest National.
Forest National
Forest
Show
JIMMY CARR: LAUGHS FUNNY
FESTIVAL MONDIAL DE LA MAGIE
The 'Festival Mondial de la Magie' brings together award-winning artists from around the world for a unique live show with stunning card manipulation and spectacular illusions.
The 'Festival Mondial de la Magie' has existed for over 30 years. A magical spectacle that brings together all forms of illusionism., from mentalism to mega illusions. Renowned illusionists from Las Vegas and Paris take the stage, some of whom have been awarded the prestigious 'Mandrake d’Or'. All of this comes to life on the stage of Forest National.
Forest National
Forest
Show
FESTIVAL MONDIAL DE LA MAGIE
La Dernière Archive | Carolina Bonfim & Flavio Rodrigo
La Balsamine
Schaerbeek
Show
La Dernière Archive | Carolina Bonfim & Flavio Rodrigo
Conférence dansée
« Plus que le résultat, c’est le processus qui m’intéresse, un acte nécessairement collectif. La note qu’un compositeur enlève n’a pas de sentiment. Le geste d’un·e danseur·euse, en revanche, c’est de l’humain : c’est la difficulté et la merveille de la danse, sa beauté et sa complexité. »Ayelen Parolin a voulu s’associer, pour cette conférence dansée, à Olivia Grandville. Déployer deux parcours de danseuses et chorégraphes, forcément uniques, forcément unis par des points de similarité. Entre elles, une grille de questions, un ping pong de réponses. Et les récurrences, les obsessions, les contradictions fertiles qui irriguent l’art de la créatrice de David, de Simple, d’Irresistible Revolution.
“Rather than the result, it’s the process that interests me, an act that has to be collective. The note that a composer removes has no emotion. A dancer’s movement on the other hand is human : that’s the difficulty and the marvel of dance, its beauty and its complexity.”Ayelen Parolin has decided to collaborate for this dance conference with Olivia Grandville. Bringing into play the journeys of two dancer-choreographers, each of which must be unique, and must also be united by points of similarity. Between them, a series of questions, back and forth with answers. And the recurrences, the obsessions, the fertile contradictions that feed into the art of the creator of David, of Simple, of Irresistible Revolution.
Ayelen Parolin & Olivia Grandville
Charleroi danse / La Raffinerie
Molenbeek-Saint-Jean
Show
Conférence dansée
Amour sous contrat
Le 140
Schaerbeek
Show
Amour sous contrat
Gimme a break !!! | Baptiste Cazaux
La Balsamine
Schaerbeek
Show
Gimme a break !!! | Baptiste Cazaux
Talk Show • Gaël Santisteva
The body, the circus, the feats, life moving forward – and leaving its mark along the way. Talk Show reveals the moving life stories of circus performers.
The body, the circus, the feats, life moving forward – and leaving its mark along the way. Talk Show reveals the moving life stories of circus performers.
Appearing regularly in our programmes, Gaël Santisteva, in one of his ‘classics’, imagines a space where circus performers can reveal themselves – somewhere between a TV quiz show and a discussion group where they can come and tell their stories anyway they want. Instead of putting on dazzling acts, they share confidences that reveal what they have gone through in the course of their often unusual careers: physical performances, behind-the-scenes stories, limitations, shortcomings — very real dramas as well as some more unlikely and frankly absurd episodes. The performers discuss their lives shaped by practice and risk while questioning the brutal notion of the body’s ‘best-by date’. A lucid and impertinent partner, Gaël Santisteva takes on the role of moderator, asking questions that the performers answer either by telling their story or performing on stage. Each performance – unique in its own right – is inevitably moving: beyond personal stories, we perceive the universal significance of these shared tales – and the rare and almost radical gift of their exposed vulnerability.
The performance on 24 March will be presented in a Relax format.
Gaël Santisteva is an associate artist at the Théâtre National Wallonie-Bruxelles
Théâtre National Wallonie-Bruxelles
Brussels
Show
Talk Show • Gaël Santisteva
On est pas obligé d'en reparler
Sophie Delhasse, art historian and independent curator + Guest(s)
Spoken exchange and performative intervention(s)
Bozar - Centre for Fine Arts
Brussels
Show
On est pas obligé d'en reparler
Hewa Rwanda • Dorcy Rugamba Majnun
A leading figure on the Rwandan cultural scene, the writer Dorcy Rugamba offers us a deeply moving account, conveyed by a voice of rare intensity.
Every year, Dorcy Rugamba returns to his family home in Kigali, with always the ivy on the walls, the calla lilies and flamingo flowers on the terrace, the palm tree and papaya tree at the entrance, Mount Jali to the north and Mount Kigali to the south. But for years, it was impossible for him to return.
In this reading, which is at once a love letter to those who are no longer with us, a hymn to life, and part of the worship of ancestors, Dorcy Rugamba addresses his father, his mother, and all those who are no longer there. He recounts what he saw and learned from them, the child and young man he once was, and the time it took afterwards to accept the unacceptable. He gets as close as possible to the absent, honouring their memory and their lives, exploring the world of the past to convey its beauty and poetry, and asks himself: how can we put into words what is out of reach?
A leading figure on the Rwandan cultural scene, the writer Dorcy Rugamba offers us a deeply moving account, conveyed by a voice of rare intensity.
→ www.theatre-martyrs.be
Théâtre des Martyrs
Brussels
Show
Hewa Rwanda • Dorcy Rugamba Majnun
Double Combo Cabaret 6# Ariadna Gironès Mata + Saori Miyazawa
Le 140
Schaerbeek
Show
Double Combo Cabaret 6# Ariadna Gironès Mata + Saori Miyazawa
EXIT
Condense a three-year marathon into eight minutes : that’s the specification given to every student for the creation of the show with which they will launch themselves out of our school !
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
Condense a three-year marathon into eight minutes : that’s the specification given to every student for the creation of the show with which they will launch themselves out of our school !
Five solidarity tickets at €5 will be set aside for each performance of performing arts projects (with some exceptions). Please email reservation@halles.be
11 € / 16 € / 18 € / 20 € / 22 € / 24 €
Les Halles de Schaerbeek
Schaerbeek
Show
EXIT
