The TOERNEE GENERAL-label has become a classic: a common selection by the KVS and the Théâtre National, a fine, varied range of what both theatres have on offer in the upcoming season.
The KVS is the Brussels City Theatre.
Our unique position in the capital of Flanders, Belgium and Europe is the alpha and omega of our operations. The KVS aims to reinterpret the repertoire in relation to the city that is more than ever the whole world. The KVS embraces the city and its plurality and intends to amplify its artistic voice in the arts field.
Theatre-makers Junior Mthombeni and Sylvie Landuyt talk about their stage plans
It is already ten years since one of the leading, if not the single most important, post-war Belgian authors, died. On 19 March 2008, Hugo Claus, who had long suffered from Alzheimer's disease, opted for euthanasia. Precisely ten years after his death, we pay tribute with two productions.
In a genuine essay style, the KVS city dramaturges Kristin Rogghe, Tunde Adefioye and Gerardo Salinas guide you through what we are offering in the new theatre season.
When you called me chéri for the first time, a shiver went down my spine. It was not a pet name, thrown at me from a distance, but a word, meant for my ears only, that cut through Brussels’ cold winter air. You repeated it a couple of days in a row.
Next season, we shall be restaging two KVS classics that zoom in on episodes from Belgian colonial history: Missie and Het leven en de werken
In the 80s, Kimberlé Crenshaw, Professor of Law and Critical Race Theory at Columbia University as well as UCLA, conceived the term intersectionality in order to better encompass the discriminatory situation women of colour were facing.
We are living in very special times, in my view the most exciting period in the history of mankind. in the face of migration surges, urban sprawl and new technologies, the world has become a multifaceted village.
To wrap up the quick-paced changes in the city, KVS has launched SLOW. Through spoken word and urban theatre, SLOW (Slam Our World) brings the inspiring artistic undercurrent of the street to the stage.
Poetry has the capacity to evoke the inexpressible. What does it mean to feel at home somewhere – or nowhere? What is the impact of terrorist attacks on a life, and on a city?
The stage setting for Learning how to walk was designed by the artist Jozef Wouters. ‘You might call it an essay on space. It is a shared quest in space; a conversation in straw, wood and stone,’ says Wouters.
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