Residencies

• 12.01 > 17.01.2026

Spring 2084. A small col­lec­ti­ve of six makers has found one ano­ther. They have an idea, a text, skills… They have a sto­ry to tell, but somehow it just won’t get off the ground. After an almost comi­cal series of soci­al and eco­lo­gi­cal cir­cum­stan­ces, they are final­ly con­fron­ted with a frigh­te­ning truth: they are invi­si­ble… An obsta­cle that see­ms impos­si­ble to over­co­me. Does it say some­thing about them, or about tho­se who look straight past them?

In a black box fil­led with tons of pota­toes in all pos­si­ble sizes, colors, and fla­vors, we cre­a­te a small, hyper-diver­se model soci­e­ty. There is no set or clear­ly defi­ned sta­ge spa­ce, unless it is the audien­ce itself, pla­ced on impro­vi­sed sea­ting and school desks. The sto­ry begins during the collective’s rehear­sal, which has alrea­dy been going on for fifteen years… At first glan­ce, a fami­liar play by Luigi Pirandello see­ms to ser­ve as a point of depar­tu­re, but it turns out to be intertwi­ned with docu­men­ta­ry mate­ri­al. The phi­lo­so­p­hi­cal under­to­ne of Pirandello’s work is given a more poli­ti­cal dimen­si­on by expan­ding the con­cept of ​“fami­ly” into the con­cept of ​“soci­e­ty.”

Performed by an inter­na­ti­o­nal cast of local and non-local actors, dan­ced through various folk tra­di­ti­ons, sung by reti­red ​“locals”… this docu­men­ta­ry fairy tale invi­tes us to take a cri­ti­cal look at cur­rent dyna­mics of inte­gra­ti­on and ​“top-down” tech­ni­ques of com­mu­ni­ty-buil­ding in Europe. The sta­ged ​“play within a play,” as absurd as its the­me, aims to expo­se and recon­si­der the dee­ply embed­ded mecha­nis­ms of inte­gra­ti­on in con­tem­po­ra­ry life­sty­les and heri­ta­ge in Belgium. In the end, after having plun­ged into this ​“one pos­si­ble futu­re,” we invi­te the audien­ce to join us at the chip stand at the exit of the the­a­ter… Because ​“we can be proud of our pota­toes, can’t we?”