VTi (Vlaams Theater Instituut)

http://www.soit.info

Having been a member of the artistic core of Les Ballets C de la B for more than twelve years, Hans Van Den Broeck founded his own company, SOIT (stay only if temporarily), in 2001. His roles in the company are as director (film work and video) and choreographer. The result is an oeuvre that tacks between the boundaries of dance/performance and video. SOIT is based in Brussels and attracts artists from various backgrounds and nationalities.

http://www.ontroerendgoed.be/

The theatre performance group Ontroerend Goed began in 1994 as a Ghent-based poets’ collective of young writers whose founding members were Alexander Devriendt, David Bauwens and Joeri Smet. Later joined by Sophie De Somere, they also form the present core.

http://www.needcompany.org

Jan Lauwers founded Needcompany together with Grace Ellen Barkey. They together are responsible for Needcompany larger-scale productions. The group of performers Jan Lauwers and Grace Ellen Barkey have put together over the years is quite unique in its versatility. Their associated artists are MaisonDahlBonnema (Hans Petter Dahl & Anna Sophia Bonnema), Lemm&Barkey (Lot Lemm & Grace Ellen Barkey), OHNO Cooperation (Maarten Seghers & Jan Lauwers) and the NC ensemble, which includes the inimitable Viviane De Muynck.

http://www.ultima-thule.be

Ultima Thule is a theatre company with its headquarters in Ghent whose main activity is ‘figure’ or puppet theatre. Its productions always test the boundaries of the puppet theatre medium and are a crossover between several arts disciplines.

http://vti.be/en/http/%252Fwww.unionsuspecte.be

Union Suspecte is a young, rebellious, challenging theatre and dance company. It is known for its radical, straight to the point performances like Onze Lieve Vrouw van Vlaanderen, Singhet ende Weset Vro and We People.

http://www.luxemburgvzw.be

In 1997 Arlette Van Overvelt set up Luxemburg as a company making theatre for children and ‘anyone else who is curious’. Luxemburg is a small, adaptable company that strongly believes in playing in both large theatres and on smaller stages; in a village in the middle of nowhere or in a forgotten corner of town. Luxemburg has been operationally subsidized since 2001. Arlette Van Overvelt is artistic director, producer and coach. Nele Gernaey acts as business and managing director and Rein De Smet is responsible for communication and education.

http://vti.be/en/http/%252Fwww.atwodogscompany.org

A Two Dogs Company is the team centred on the theatre-maker and artist Kris Verdonck and represents the continuation of his small Stilllab company. In recent years, Verdonck’s artistic practice has developed, expanded and internationalised to such an extent that its growth can only be consolidated if a small, flexible organisation is able to follow up on and structure the work on a permanent basis. Kris Verdonck is receiving an operational subsidy for the first time, which immediately signalled the start of A Two Dogs Company and his residency at the Kaaitheater.

http://www.marius.be

Comp.Marius is led by the actors Waas Gramser and Kris Van Trier, whose artistic careers have been inextricably linked ever since 1991: first as part of the theatre company STAN (1991-1993), then together with Guy Cassiers and Adrienne Altenhaus as Maten (1994-1996) and later under the flag of the theatre collective De Onderneming (1997-2005). It was only with the founding of Comp.Marius in 2006 that their collaboration acquired its own independent structure.

http://www.toneelhuis.be

Toneelhuis is one of the three civic theatre that has a resident company, and the largest theatre company in Flanders. It was set up in 1998 after a fusion of the Koninklijke Nederlandse Schouwburg (KNS) in Antwerp and the Blauwe Maandag Compagnie in Ghent.

http://www.demunt.be/

De Munt is a federal cultural institution. In 1963 De Munt was officially named National Opera. A major turning point in the history of the Royal Monnaie was the appointment in 1981 of Gerard Mortier as general director. During his directorate, not only the building was thoroughly modernized; he also artistically reorganized the Monnaie's choir and symphonic orchestra and employed new and young staff. All this, and Mortier's choice of a more personal and peculiar repertoire, turned the Monnaie into an opera of international stature and renown.