abonneer

#182

15.04.2026

—

14.09.2026

Nieuwsbrief

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No Yogurt for the Dead / Histoire(s) du Théâtre VI – Tiago Rodrigues & NTGent

A hospital as a place in-between

Tiago Rodrigues’ No Yogurt for the Dead is a tender and intimate play about memory, loss, and the spaces in between. Inspired by his father’s final days in a hospital, Rodrigues creates a story that feels both personal and universal. The stage design shifts between a realistic hospital room and a dreamlike landscape, making the audience feel like they are moving through time and memory. Despite the heavy themes, the play balances sadness with humor, making it both emotional and engaging. Small moments — like a missing black pen or a spoonful of yogurt — become powerful symbols of resistance and acceptance. In the end, the play stays with you, making you reflect on life, loss, and the connections we leave behind.

Furkan Ak

review 03.02.2025

My Body as A Commodity – Anne-Laure Vandeputte / KWP

Traumatheque

The difficulty with true stories told on stage is that they put a critique-resistant film around the performer. I can’t possibly say anything about the contents without touching upon the performer’s experience. I’m walking on eggshells, the whole thing becomes so entangled, an honest face behind a mask, as Vandeputte puts it. My only option is to talk about this mask, the wrapping of the contents of the performance. And that feels dishonest and shallow. If anything, I believed everything that Vandeputte said and did, I saw her mask break, I saw the 14-year-old stuck in a 30-year-old woman’s body that she talks about. So the only thing left to do is to answer honesty with honesty.

Ugnė Noreikė

review 28.01.2025

Nieuwsbrief

In Absentia
 – Helder Seabra

Presence

What does it take to stay present in absence? What does it take to embody the void left by a loss? Helder Seabra comes back to these questions after 10 years. In Absentia first premiered in 2015 – back then it was challenged by the deteriorating financial state of the cultural sector. Once again the funding for the arts was cut which affected Helder Seabra’s work too. I haven’t seen the first take but it seems like the flame of this Portuguese choreographer is still burning. Moreover, the initial financial shortcomings that left Seabra with fewer performers hasn’t restricted his passion, but rather scarcity became the mother of invention. In absence, Seabra found the space to create something powerful.

Ugnė Noreikė

review 23.12.2024

GLITCH WITCH – Meg Stuart/Damaged Goods

Glitter Gravel

GLITCH WITCH by Meg Stuart/Damaged Goods shows three women stranded on a lifeless, seemingly toxic rave moon, strewn with half-buried disco balls and black glitter gravel. But juxtaposing a dead landscape with hyper-alive bodies that twitch and contort isn’t meaningful in itself. What is the relation of the performers’ bodies to this barren space? What do their movements mean, apart from limb spasms? The lack of clear intent renders the performance elusive, leaving any connection frustratingly out of reach.

Ugnė Noreikė

review 17.12.2024