In a seemingly abandoned place where time solidifies, two bodies are subjected to a machine with tight rhythms and electronic sounds. Like in a feverish dream, the two bodies attempt to break free, searching for an alternative. In the ruins of what remains, they fantasize about a place where time is spent differently.

In the dance-theatre performance GAZE, choreographer Laura Neyskens, together with dramaturge Raphaël Vandeweyer, explores what power our body has. In an expressive, anarchic and poetic way, they investigate how dominant stories shape our bodies and what impact this has in a world where, above all, we want (to be) seen.

What role can the oldest tragedy in the theatre canon, ‘Persians’ by Aeschylus, still play within the context of a long-running, highly polarised matter such as Israel's oppression on Palestine.

Who feels heard in the city? Which (colonial) histories are (un)discussable? How does Ghent allow itself to be inspired and influenced by cultures far beyond its city limits? Join the debate on Saturday, October 5, 2024 in the NTGent Tent, Sint-Baafsplein.

Is it a performance, a theatrical production or a real truth commission? The terms don't matter. Come and see for yourself.

Theatre company Action Zoo Humain and Verbeke Foundation invite multidisciplinary artist Khaled Jarrar to realize his artistic intervention AND

Flemish Primitives shines new light on flashy talent shows and the malleability of success. Together with seven young performers, director Chokri Ben Chikha explores the relationship between the urge to excel and the spectacularization of difference.

Is it a theatre play, a performance or an actual truth commission? The terminology is unimportant. It is an event that hits the participants in the face.

Crowdfunding for art: ‘How can we as artists today support the fledgling democracy in Tunisia?’

Amnesty/Amnesia draws the card of radical reconciliation. What happens when the daughter of an East Fronter comes face to face with the mother of an ISIS warrior?

A solemn farewell ceremony and the erection of a monument for the Unknown Refugee

A procession from Flanders to Dubai during the NTGent Opening Weekend

What is culture? Should culture bite or should it make no sense at all? Depends on how you look at it. Four women and one man in a variety of ‘positions’, exaggerated and malformed!

This mini constellation is a melting pot, and at times even a pressure cooker. Patience and horny skills, understanding, nervousness and all the inserted cultural influences balance each other out.

De Leeuw van Vlaanderen is an extremely intense hour of musical theatre, without boredom or weak moments, hopping from art and popular culture, from repugnance and amazement, between protest and acceptance. And had we already told you that the new Flemish lion has long dreadlocks?

Inspired by their experiences in the Aldi supermarket, a group of young actors and dancers put their personal version of supermarkets on the map – including dirt cheap goods and ditto staff.

'What binds me has been slain, and what turns me about has been overcome […] and from the fetter of oblivion which is transient.' Gospel according to Mary Magdalene

Not pretentious. The weaknesses of the actors becomes their strength. It'll take you from the beginning to the end because of the diversity and emotions ... No boredom ... Touching!

In Hotel Ah!Med the youngsters of socio-artistic association Union Suspecte give their hilarious view of large holiday resorts. Or about how overripe machos and superficial blondes are thoroughly made fun of.

Güler, top entrepreneur and guide, leads the travellers along the Succesvolle Turkse Ondernemers [successful Turkish entrepreneurs] (STE) in Rotterdam and Amsterdam. Who are these STEs? What do they do and what drives them?

Action Zoo Humain woudn't be Action Zoo Humain if they couldn't wrap these themes into a fierce slap-in-the-face, resolving at the same time in some fascinating and not too pedantic theater.

The story of Martin Schiltmeier, former footballer and grandchild of a Senegalese soldier who fought in the First World War.

Ben Chikha plays with the audience and the economic exploitation of the (ex-) colonies in a subtle way. (...) The images are strong. They breathe engagement, idealism and enthusiasm.