Glitches, Memes and Playbackshows: Performance in the Post-internet Era
Drag is gaining popularity and visibility at a rapid pace. With the body as a canvas and the...
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Belgium
Generation XIII – A Documentary Podcast
Five dancers. Three years. One school. Every three years 1000 young dancers from all over the...
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When Playwrights Complicate Dramatic Form: Recent Developments in African American Plays of the 2010s
African American drama, theater and performance has a rich and complex history. Only recently,...
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Bodies of Knowledge – Facilitating Alternative and Humane Ways of Learning
Bodies of Knowledge (BOK) is a semi-nomadic classroom that facilitates alternative and...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART II
This is Part II of the essay. To read Part I, click here. 8. (ON A-HUMANISM, AGAIN) A-humanism is...
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“For They Do Not Know What They Dance”? (A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance) – PART I
(A Lecture-Essay Hesitantly Affirming the Idea that Every Lecture is Also a Performance)[1]With...
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Belgian Premiere of “Molly Bloom” in Ghent
In 1999, Viviane De Muynck and Jan Lauwers set to work with the last chapter of James...
Read MoreGeneration XIII: A Documentary Podcast
Every three years 1000 young dancers from all over the world audition for PARTS, the renowned school for contemporary dance in Brussels, directed by choreographer Anne Teresa De Keersmaeker. Every three years, only 40 are chosen...
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“The Time of Our Singing” Opera Tackles Racial Segregation
Based on an American novel detailing the country’s troubled 20th century, the new Belgian...
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Get Down: A New Way to Rise. Professionalizing Urban Dances, From Street to Stage.
With Get Down, Belgium now has its first management agency dedicated to street dancers. That is...
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Self-Organizing Systems, Stickiness and Mental Resistance… An Interview with Mette Ingvartsen on Moving in Concert (2019)
SEEDS Bojana Cvejić: In your solo 21 Pornographies, the last scene, in which you are relentlessly...
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“De Lege Zaal: Broken Shapes” – Rimah Jabr and Dareen Abbas / Moussem
The coronavirus empties streets and theatres. Because we prefer virtual theatre to none at all, we...
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Try Again. Fail Again. Fail Better.
Milo Rau was to receive an honorary doctorate from the UGent in March. Corona decided differently,...
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Bodies and Bodies and Bodies of Work: A Feminist Perspective on the Notion of ‘Oeuvre’
What does it mean to build an oeuvre as a woman? There are still obstacles on the road that are...
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“Tactile Quartet(s)” – Vera Tussing and Quatuor MP4
New Nexus Formed After several projects which look into ways to expand performing art’s notion of...
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All We Need is Audience Development?
This series of articles was commissioned in preparation for the IETM Plenary Meeting in Rijeka,...
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Playing the Family: Dramaturgy in Peeping Tom’s Family Trilogy
Peeping Tom is a theatre company founded in 2000 in Brussels by Gabriela Carrizo and Franck...
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“Unknown, I Live With You”: Oppression and Song
Opera is filled with tales of violence. Its whole history relies on great passions tragically...
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What Are You Already Doing In Your Organization Or Community (Related To Digital Technology And Theatre)?
No question about it, the use of digital technology is quite common in everyday theatre life all...
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“Self Life Drawing” – Eunkyung Jeong
The political self of beauty South Korean artist Eunkyung Jeong’s interdisciplinary work at...
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