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#182

15.04.2026

—

14.09.2026

Nieuwsbrief

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Voice Noise – Jan Martens / GRIP

The most powerful muscle

In the respectful and mindful silences between the dance and music numbers the audience at the premiere of Jan Martens’ Voice Noise was shifting in their seats and coughing. I’d never been so aware of the voice noises produced by the audience, the different pitches and ages of coughs amused me. That was the audience’s answer to the often strange manoeuvres that the voice and the body performed on the stage. Six very different bodies, a set of muscles, moved on the stage as if pushed by yet another muscle, the voice. Is the voice a muscle, I ask myself. It has the power of one, answers Martens. Assembling separate performances and a few choreographed group dances, he seems to ask the question of how different, specifically usually silenced or forgotten female voices can move us.

Ugnė Noreikė

review 28.03.2024

Donja Hota – Enkidu Khaled/Platform 0090

letters to the next female Don Quixotes

Firing off at a rapid tempo, Donja Hota gathers female artists on stage to share their reflections on the state of the world and the memories that make up their present. Lessons from their experiences are addressed to a young girl named Alma, who represents a new generation of female Don Quixotes ready for battle. But a battle against what? Despite the undeniable impact of the performers that drives Donja Hota forward, the audience is left with too many windmills at the end.

Caroline Lee-Jeong

review 07.03.2024

Nieuwsbrief

Pearls – Joshua Serafin

The poetry in the world of creatures undefined

The stage is dark. Bodies recline in darkness, mere silhouettes against the fog. A projection of a short poem about the sun and the sea and its vanishing edge flickers off, followed by a video of three bodies bathing in a stream. They are surrounded by nature. The narrator’s voice enters, addressing their love. They find themselves in a liminal space, a “multiverse,” a “swamp” where “undefined creatures” roam.

Caroline Lee-Jeong

review 27.02.2024

‘Every non-European is supposedly a potential migrant’

Art knows no borders, but artists all the more so. Physical territories, nationalities, laws, rules: they are increasingly restraining the cultural mobility of non-European artists wishing to travel to the Schengen Area. Why is it that visa procedures have become so complex, burdensome and uncertain? And how does this undermine the much-needed international exchanges on our stages? Charlotte De Somviele raised these questions with Iranian-Belgian choreographer Ehsan Hemat and artistic director of laGeste Hildegard De Vuyst, who as a dramaturge has been working closely with theatre-makers from Congo and Palestine for twenty years.

Charlotte De Somviele

essay 05.02.2024