Culture and art in Belgium

Les Tanneurs

Bruksela

Théâtre Les Tanneurs is an independent theatre venue in the heart of Brussels, on rue des Tanneurs, dedicated to contemporary performing arts — blending theatre, dance, and visual arts under one roof for artists and audiences alike. Where did this stage come from? The story begins in 1973, when Philippe van Kessel and Stanislas Defize founded Atelier Sainte-Anne, a café-theatre on rue Sainte-Anne in the Sablon district. From the start, the idea was to create a stage open to experimentation and emerging talent, distinct from the city's larger institutional theatres. Why did it move to rue des Tanneurs? In 1984, the Atelier relocated to a new address at 75-77 rue des Tanneurs. The new premises housed administrative offices as well as a restaurant, Le Petit Chien, which quickly became an informal meeting point for the artists, directors, and performers connected to the venue. Two years later, in 1986, a multipurpose hall was built for both theatre performances and art exhibitions — this programmatic flexibility would go on to define the venue for decades. How did its artistic identity evolve? From 1989, under the direction of Serge Rangoni, Atelier Sainte-Anne began combining theatre, dance, visual arts, exhibitions, and artist encounters in its programme. Promoting young Belgian artistic talent became a core priority, and the venue effectively functioned as a laboratory for creators still building their place in the world of performing arts. What happened in the 1990s? In March 1996, then-minister Charles Picqué cut public funding for Atelier Sainte-Anne, forcing the institution to suspend its activities. The building on rue des Tanneurs was subsequently bought by the City of Brussels and transferred to the Fédération Wallonie-Bruxelles. This closed one chapter, but it was not the end of the venue. How did today's Théâtre Les Tanneurs come to be? After the building changed hands, it underwent extensive renovation, and in 1999 Geneviève Druet took over as director. It was then that the venue adopted the name it still carries today — Théâtre Les Tanneurs. From that point on, the stage has consistently positioned itself as a space dedicated to contemporary creation, open to new forms of theatre and dance. What should visitors know about Théâtre Les Tanneurs? The theatre sits in central Brussels, in a district once tied to the tanning trade — hence the name "Tanneurs" (tanners). Its programme focuses on contemporary, often experimental productions by Belgian and international artists. The venue functions both as a performance hall and as an "artists' house" — a working space for creation, not merely a showcase stage. Frequently asked questions What was Théâtre Les Tanneurs originally? It began as Atelier Sainte-Anne, a café-theatre founded in 1973 on rue Sainte-Anne in the Sablon district. When did it become Théâtre Les Tanneurs? The venue took on its current name and identity in 1999, after the building was renovated and Geneviève Druet became its director. Why did the theatre suspend activities in the 1990s? In 1996, public funding was cut, forcing the institution to stop operating; the building was then acquired by the City of Brussels. What kind of art can visitors see there? The programme centers on contemporary theatre and dance, along with visual art exhibitions, with an emphasis on experimental work and Belgian artists.

Théâtre de Verdure - Groentheater

Bruksela

Théâtre de Verdure – Groentheater is an open-air amphitheater tucked into Osseghem Park in Brussels, right next to the Atomium. Its semi-circular stone-and-grass terraces blend into the park's natural slopes and mature trees, making the greenery as much a part of the venue as the stage itself – hence the name "green theater." Where does this kind of theater come from? The idea of the "théâtre de verdure" took shape in early 20th-century Europe as a way of bringing performance out of concert halls and opera houses and into public parks, open to anyone regardless of ticket price. Brussels' own Groentheater was established in 1932, part of that same broader movement to make culture an everyday feature of the urban landscape rather than a privilege for the few. How is the amphitheater built? The seating rises in a semi-circle of stone and grass terraces that follow the natural contours of Osseghem Park as they slope down toward the stage. Framed by mature trees, this layout gives the venue notably good acoustics and an intimate feel even at full capacity, with room for up to 2,000 spectators. The result is a space where architecture and landscape work together, so a concert here feels like it's happening inside the park rather than just at its edge. What happens on stage today? The Groentheater remains an active concert venue, hosting both local and international music events, ranging from club-style dance nights to larger open-air concerts. Its proximity to the Atomium makes it a natural stop for visitors already exploring this part of Brussels, letting them pair a walk through the park with an evening cultural event. Why is it worth a visit? The venue brings together three things that rarely coexist in a big city: the intimacy of an amphitheater, the openness of a public park, and a prime location next to one of Brussels' most recognizable landmarks. For travelers looking for something beyond the usual city-center route, Osseghem Park and its Groentheater offer a different side of Brussels – greener, quieter, but still culturally alive. Frequently asked questions Where exactly is Théâtre de Verdure – Groentheater located? In Osseghem Park in Brussels, directly next to the Atomium. How many people can the amphitheater hold? The stone-and-grass terraced seating accommodates up to 2,000 spectators. When was the theater established? Théâtre de Verdure – Groentheater was founded in 1932. What kind of events take place here? Concerts and music events, ranging from intimate club nights to larger open-air shows that make use of the venue's natural acoustics. Can a visit be combined with other attractions? Yes – its location next to the Atomium and within Osseghem Park makes it easy to combine sightseeing with an event at the amphitheater.

Stadsschouwburg

Stadsschouwburg in Bruges is one of the best-preserved city theatres in Europe, a landmark whose neo-Renaissance facade hides an interior that has hosted theatre, dance, and concerts for more than 150 years in the heart of this Flemish city. Why was a new theatre needed? In 1864, the city of Bruges decided it required a grand new theatre building. The chosen site had previously held a smaller venue known as the Comedie, dating back to 1756. Making room for the new complex meant demolishing 46 medieval buildings, straightening streets, and displacing 150 residents to create a new theatre square. The project reflected the ambitions of the city's 19th-century bourgeoisie, who wanted Bruges to have a temple of culture that could rival the theatres of Ghent, Antwerp, and Brussels. Who designed the building? The design came from an architecture competition won by Gustave Saintenoy, who drew inspiration from the Paris opera house designed by Charles Garnier. That influence shows in the palatial scale of the neo-Renaissance complex. Construction began in 1867, led by main contractor H. Keller from Antwerp, working alongside C. Verschelde from Bruges. When did the theatre open? The city theatre opened on 30 September 1869 with a performance of "Les mousquetaires de la reine." A century later, in 1969, the building was granted royal status to mark its centenary, becoming the Koninklijke Stadsschouwburg — the Royal City Theatre. Why is it nicknamed "La Bonbonnière"? Behind the sober yet majestic neo-Renaissance facade lies a palatial foyer and an auditorium decorated in red and gold. The abundance of gold leaf, sumptuous decoration, and red seating earned the theatre its popular nickname, "La Bonbonnière" — literally, a box of chocolates. How many people can it seat? The auditorium and foyer together can accommodate up to 700 spectators, a capacity that supports everything from intimate contemporary dance performances to larger theatrical productions and concerts across various musical genres. Has the theatre been restored? Yes — the building underwent a thorough restoration in 2001, preserving its historic character while updating it to meet modern technical and safety standards for hosting events. Frequently asked questions Where is the Stadsschouwburg located? In the centre of Bruges, on a square that was purpose-built for the theatre after the demolition of the original 19th-century streetscape. Is it still an active theatre? Yes, the venue regularly hosts theatre performances, dance, and concerts, making it one of the city's main cultural stages. Where does the royal title come from? The "Koninklijke" (Royal) title was granted in 1969 to mark the theatre's hundredth anniversary. What is worth seeing inside? The palatial foyer and the red-and-gold auditorium, which gave the building its nickname, "La Bonbonnière."

Théâtre la Montagne Magique

Bruksela

Théâtre la Montagne Magique is a theatre dedicated to young audiences, located in the heart of Brussels within the Pentagon — the historic city center once enclosed by the old defensive walls. The institution was founded in 1995 by the City of Brussels and has since operated as a permanent centre for theatrical outreach, animation, training and documentation aimed at children and teenagers. Where exactly is the theatre located? The building stands at Rue du Marais 57, right in the centre of Brussels, in an easily accessible spot for both residents and visitors exploring the historic downtown. Its proximity to other Pentagon landmarks makes it simple to combine a visit with a stroll through the surrounding streets. What does the building look like inside? The theatre occupies a historic building dating back to the early 19th century. Inside, the layout reflects the dense, old urban fabric typical of the area — winding staircases connect the different floors, while numerous nooks and unusual corners give the building a mysterious, almost fairy-tale atmosphere. This distinctive architectural character fits naturally with an institution that has spent decades inviting young visitors into the world of imagination and stage performance. The main performance venue is the Agora Hall, with a stage opening of 9.7 metres, a depth of 11 metres, a ceiling height of 4.6 metres, and seating for 250 people. This scale allows the hall to host elaborate stage productions while keeping an intimate atmosphere that encourages young audiences to engage closely with what happens on stage. What does the theatre's programme look like? La Montagne Magique functions as a permanent centre focused on theatre for children and young people, combining the roles of a performance venue, an animation hub, a training centre and a documentation resource dedicated to work created for young audiences. Every year the theatre hosts more than 300 performances aimed at both school groups and families, featuring productions from Belgian and international companies. The programme also includes seasonal offerings, among them Christmas-themed shows staged during the holiday period. The theatre's activity goes beyond performances alone. It runs classes and workshops both during and outside school hours, aimed at children, teenagers, and adults interested in the performing arts for young audiences. This makes the institution more than just a stage — it functions as a cultural education centre serving several age groups at once. Who is this place for? Théâtre la Montagne Magique is a natural choice for families travelling with children who are looking for a cultural activity in Brussels suited to younger visitors. School groups are equally frequent guests, drawn by the theatre's extensive educational and workshop offering. The building's historic architecture adds an extra layer of interest for adults curious about the atmosphere of old Brussels. Frequently asked questions Where is Théâtre la Montagne Magique located? At Rue du Marais 57, in the centre of Brussels, within the Pentagon district. When was the theatre founded? It was established in 1995 by the City of Brussels. How many seats does the main hall have? The Agora Hall seats 250 people. How many performances take place each year? More than 300 performances a year, aimed at school and family audiences. Does the theatre organise activities beyond performances? Yes, it runs workshops and animation sessions for children, teenagers and adults, both during and outside school hours.

Théâtre royal de Mons

Mons

Théâtre royal de Mons is a historic theatre standing on the Grand-Place in Mons, on a site once occupied by the city's drawing academy and its excise office. Construction ran from 1841 to 1843 on the initiative of alderman Doutremer, with the design entrusted to the city architect Charles Sury (1814-1865). The theatre had its official opening on 18 October 1843, under the direction of Édouard Haquette. What were the theatre's early years like? Audiences were initially lukewarm toward the new venue, but it soon won over the public and became one of the region's key cultural landmarks. The great lyric repertoire was performed here in full, and celebrated French actors of the era — including Sarah Bernhardt and Lola Montès — appeared on its stage in the classical dramatic repertoire. What architectural style does the building follow? The theatre was built in the neoclassical style: its façade is marked by a sculpted pediment resting on columns, giving the building the monumental, ceremonial character typical of nineteenth-century theatre architecture. Inside, the auditorium seats up to 500 people, making it a compact yet prestigious stage for a city the size of Mons. What stands out inside the theatre? Visitors are drawn to the cast-iron doors, decorated with medallions depicting figures tied to the history of theatre and music: Molière, Racine, Roland de Lassus, and Grétry — a symbolic nod to the French dramatic tradition and early music deeply rooted in the Hainaut region. Another striking feature is the trompe-l'oeil sky painted by the artist Alexandre Obolensky: a 35-metre-long mural depicting the passage from dawn to a star-filled night. The composition accompanies visitors along their entire route, from the entrance hall down to the bar on the lower level. Has the building been modernized over time? Yes — as a site of significant historical value, the theatre has undergone several renovations to bring it up to modern technical standards while preserving its original architectural character. Renovation works were carried out in 1948, 1997, 1998, 2006, and 2011. Frequently asked questions When was the Théâtre royal de Mons built? The building was constructed between 1841 and 1843, with its official opening held on 18 October 1843. Who designed the theatre? It was designed by the city architect Charles Sury (1814-1865). How many people can the auditorium hold? The auditorium seats up to 500 spectators. Where exactly is the theatre located? It stands on the Grand-Place in Mons, at the corner of rue Neuve, in the heart of the city's historic center. What are the highlights inside the building? The cast-iron doors bearing medallions of major dramatists and composers, and the 35-metre trompe-l'oeil mural by Alexandre Obolensky depicting the sky from dawn to night.

Pocket Theater

Bruksela

Théâtre de Poche (the Pocket Theater) is one of Brussels' most distinctive stages, tucked into the greenery of the Bois de la Cambre right at the edge of the forest. The building stands at Chemin du Gymnase 1a, surrounded by trees, giving it an intimate character quite different from the classical theatres found in the city centre. How did the theatre begin? Théâtre de Poche was founded in 1951 by Roger Domani and Roland Ravez. From the outset it was conceived as an experimental venture, with its founders searching for new stage forms and daring texts rather than following the conventional repertoire that dominated Brussels stages at the time. This experimental identity defined the theatre for decades, from the 1950s through the 1980s. Why did the theatre move to the Bois de la Cambre? A turning point came in 1966. Roger Domani had just returned from three consecutive years in Africa when Roland Mahauden suggested he take over the premises of a former pétanque club, located behind the skating rink his mother ran in the Bois de la Cambre. It was there, on boards laid over still-fresh concrete, that the theatre staged its first performance in the new location: "Insulte au public" ("Offending the Audience") by Peter Handke. The theatre has operated continuously from that same forest-edge site ever since. What can audiences see at Théâtre de Poche today? The theatre's programming has shifted over time. While its first decades (1950s–1980s) were marked by experimentation with form and text, since the 1990s Théâtre de Poche has focused primarily on productions addressing contemporary social issues. The venue remains a place where stagecraft meets reflection on present-day society. What is the venue itself like? The auditorium seats 237 people, making for an intimate yet fully professional setting that keeps performances close to the audience. A bar forms a natural extension of the foyer, opening either onto an open fire or a terrace overlooking the surrounding forest of the Bois de la Cambre. This blend of architecture and nature means an evening at the theatre begins well before the curtain rises. Frequently asked questions Where exactly is Théâtre de Poche located? At Chemin du Gymnase 1a, in the Bois de la Cambre in Brussels, on the site of a former pétanque club adjoining a skating rink. Since when has the theatre operated at this location? Continuously since 1966, when its first performance there, Peter Handke's "Insulte au public," was staged. Who founded the theatre, and when? It was founded in 1951 by Roger Domani and Roland Ravez. How many seats does the auditorium have? The hall seats 237 people. What kind of repertoire does the theatre present? Since the 1990s it has focused mainly on productions dealing with social issues, following an earlier, more experimental period spanning the 1950s to the 1980s.

Théâtre Royal de Namur

Namur

Théâtre Royal de Namur is a historic theatre building at the heart of Namur, a city shaped by the Meuse and Sambre rivers in Wallonia. It stands on the site of a former convent, and its story begins in the 1820s, when the city council decided to build a venue devoted entirely to the performing arts and music. How did the theatre we see today come to be? The first theatre building in Namur opened in 1824. It was considerably smaller than the current structure and, according to historical accounts, rather uncomfortable for both performers and audiences. The site's early history was far from smooth: a fire broke out in 1860 after stage scenery fell onto a gas-lighting pipe, and two years later lightning struck the theatre while it was again under construction. It took a third attempt to create something lasting — the building visible today was designed by Thierry Fumière, the city architect of Namur, and was formally inaugurated in 1863. Why is it called "Royal"? For decades the venue was known simply as the Grand Théâtre or Théâtre de la Ville. It was only in 1933 that King Albert I granted permission for the building to carry the title "Théâtre Royal" — a name it has kept ever since, reflecting its standing in the city's cultural life. Did the theatre survive the wars unscathed? The First World War left the building untouched, but the Second World War left a clear mark: bombing raids in August 1944 caused serious damage. Despite this, the theatre survived, and decades later underwent a thorough restoration. Between 1994 and 1998, architects Thierry Lanotte and Pierre Lamby led a complete renovation that restored the building's former grandeur and brought it up to modern technical standards. What should visitors know before going? The Théâtre Royal de Namur remains an active stage, hosting theatre productions, concerts and cultural events as part of the region's busy artistic calendar. The building itself, with its distinctive 19th-century architecture, is worth seeing on its own merits, and occasional open days give visitors a chance to step backstage and see parts of the theatre normally closed to the public. Located in the centre of Namur, it sits close to the city's other landmarks, making it a natural stop on any walk through the historic centre. Frequently asked questions When was the current theatre building constructed? The present building, designed by Thierry Fumière, opened in 1863, after two earlier structures were destroyed by fire and a lightning strike. Where does the name "Royal" come from? King Albert I granted the title "Théâtre Royal" in 1933; before that, the venue was known as the Grand Théâtre or Théâtre de la Ville. Was the building damaged during the wars? Yes, it suffered serious damage during bombing raids in August 1944, and it later underwent a full restoration between 1994 and 1998. Can visitors see the inside of the theatre? Beyond attending performances, the theatre is occasionally opened to the public during events such as heritage days, which also give access to the backstage areas.

CC Ter Vesten

Beveren

CC Ter Vesten is a cultural center in Beveren, East Flanders, located at Gravenplein 2. It serves as the main cultural venue for the wider region covering the municipalities of Beveren, Kruibeke, and Zwijndrecht, hosting a program of performances, concerts, and artistic events with regional reach. How did the cultural center come about? The foundation stone for Ter Vesten was laid on June 11, 1994, and the building was officially opened on May 31, 1996. Less than a decade later, local authorities decided to expand the site — a new library was built next to the existing cultural center, and the cultural venue itself was significantly enlarged. The new wings were officially opened on March 7, 2008. Thanks to this expansion, Ter Vesten now functions as a combined complex bringing together cultural programming and library services, making it one of the key meeting places for residents of Beveren. What role does it play in the region? CC Ter Vesten describes itself as a location, catalyst, and engine for creative encounters. Its program carries a quality label and is regarded as a reference point for professional arts in the region. The offering spans multiple disciplines — theatre performances, music concerts, exhibitions, and educational events — combining a view of the past, present, and future of local culture. The center also acts as a shared meeting point for residents of the three neighboring municipalities of Beveren, Kruibeke, and Zwijndrecht, serving as their joint cultural institution. What else happens here besides cultural events? Beyond its regular artistic program, CC Ter Vesten rents out its halls to both organizations and private individuals. The venue's spaces are used for exhibitions, workshops, meetings, training sessions, cooking classes, band rehearsals, and live music performances. This flexibility means the building is active not only on days of official cultural events but also as an everyday gathering space for the local community. Where exactly is it located? The center is located at Gravenplein 2, 9120 Beveren — right in the town center, close to other public institutions. Its position on Gravenplein makes it an easily accessible landmark for visitors to Beveren, whether they are attending a specific event or simply exploring the town. Frequently asked questions What is CC Ter Vesten? It is a cultural center in Beveren serving the region of Beveren, Kruibeke, and Zwijndrecht, offering performances, concerts, and artistic events. When was it built? The foundation stone was laid in 1994, it opened in 1996, and in 2008 it was expanded with a new library and additional spaces. Where is it located? At Gravenplein 2, 9120 Beveren, in the town center. Can the halls be rented? Yes, the center makes its halls available to both organizations and private individuals for exhibitions, workshops, training, band rehearsals, and other events. What kind of cultural program does it offer? The program spans multiple artistic disciplines and carries a quality label recognized regionally as a reference point for professional artistic activity.

Elckerlyc Antwerpen

Antwerpia

Theater Elckerlyc is one of Antwerp's largest theater venues, tucked inside the grounds of a former Jesuit college on Frankrijklei, right at the edge of the historic city center. From the street it's easy to walk past its entrance between the neo-Gothic buildings of the old school, but inside waits an auditorium seating close to 800 people, one that regularly hosts leading Dutch-language theater companies from Belgium and the Netherlands. Where did this hall come from? The building that now houses the theater wasn't built for entertainment at all. In 1871, the Jesuits bought a plot of land along Antwerp's former city fortifications, on what is today the Leien boulevard ring. Four years later, in 1875, the Onze-Lieve-Vrouwecollege opened there — a Catholic secondary school that welcomed its first 288 students. Shortly after, construction began in 1877 on the neo-Gothic Onze-Lieve-Vrouw van Genade church next door, designed by architects Jules Bilmeyer and Joseph Van Riel. The church was consecrated in 1882, though its two distinctive towers weren't added until 1909. The theater hall itself, known today as Zaal Elckerlyc, came much later. The college needed its own assembly hall for school events and cultural activities, so architect Rie Haan designed a new building in 1955–1956, which opened in 1957. How did the hall's role change over time? From early on, Zaal Elckerlyc did more than serve as a school auditorium. In its first decades it hosted film screenings organized by the Catholic film league for Antwerp schools, as well as political party congresses and television recordings for the Belgian public broadcaster BRT. The name "Elckerlyc" refers to a medieval Dutch morality play from around 1470, about a man confronting death — a text considered the source for the English play "Everyman." It was this play that gave its name to the Elckerlyc theater society, which for years programmed performances by leading Dutch-language theater groups in the hall. Over time the venue's role shifted toward that of a full-fledged theater house operating independently of the school, though still within the same historic building complex. Today the former college assembly hall stands as one of the city's more important theater stages, providing the infrastructure for both large touring productions and local cultural events. What's worth knowing before a visit? Theater Elckerlyc sits on Frankrijklei, one of the boulevards ringing Antwerp's historic center, making it an easy walk from most of the city's main sights, including the cathedral and the Grote Markt. The hall is still part of the former Jesuit college complex, next to the neo-Gothic Onze-Lieve-Vrouw van Genade church — worth a glance at the architecture before heading inside. Frequently asked questions Is Theater Elckerlyc a heritage building? The building is part of the former Onze-Lieve-Vrouwecollege complex, listed in Belgium's Inventaris Onroerend Erfgoed heritage register, though the theater hall itself dates from the 1950s rather than the college's original neo-Gothic expansion. Where does the name "Elckerlyc" come from? It's the name of a medieval Dutch morality play from around 1470 about a man facing death — a text regarded as the source for the English play "Everyman." How many people does the hall seat? The auditorium seats close to 800 people, making it one of the larger theater venues in Antwerp. Who designed the theater building? Architect Rie Haan, who drew up the design in 1955–1956; construction was completed in 1957.

Royal Theatre of La Monnaie

Bruksela

La Monnaie / De Munt (French: Théâtre Royal de la Monnaie) is Belgium's principal opera house, standing on the Place de la Monnaie in the heart of Brussels. Its name comes from the ducal mint that once occupied the site — "monnaie" being French for coin or currency. Where did the opera on this site come from? The first theatre here opened in 1700, commissioned by Gio Paolo Bombarda, a banker and financial adviser at the court of Maximilian II Emanuel of Bavaria. It was designed by Italian architects Paolo and Pietro Bezzi and built on the grounds of a former mint known as the "Herberge van Oistervant." For more than a century this original building served Brussels as its main venue for musical performances. How did the building change over the centuries? At the start of the 19th century, under Napoleonic rule, the theatre underwent a major renovation designed by French architect Louis Damesme, who gave it the neoclassical façade still visible today, completed in 1819. The building's fortunes changed dramatically in 1855, when fire destroyed the interior, leaving only the façade standing. Reconstruction was entrusted to architect Joseph Poelaert — also known for Brussels' monumental Palace of Justice — who unveiled the third version of the theatre in 1856, this time in an eclectic style blending French and Italian influences. Poelaert's auditorium seats around 1,130 people. Twenty years later, in 1876, architect Gédéon Bordiau added an extra floor and fitted the building with one of the earliest sophisticated ventilation and air-conditioning systems used in a theatre of its kind. What role did the opera house play in Belgian history? La Monnaie is remembered not only as a musical stage but as a site of genuine political significance. In August 1830, during a performance of Auber's opera "La Muette de Portici," the aria "Amour sacré de la patrie" (Sacred love of the fatherland) stirred the audience to such a degree that they poured out of the theatre shouting "Vive la liberté." The moment is regarded as the spark that ignited the Belgian Revolution, which led to the founding of the independent Kingdom of Belgium. What changed inside the theatre in modern times? Between 1985 and 1986, architect Charles Vandenhove of Liège devised a new design concept for the building's entrance space. To realize his vision he commissioned two American artists: Sol LeWitt, who created a fan-shaped floor pattern in black and white, and Sam Francis, who painted the triptych adorning the ceiling. These contemporary artistic interventions sit in deliberate contrast with the historic 19th-century architecture of the main auditorium, giving the entrance area its distinctive blend of eras. What is the opera house's status today? The building is now home to the National Opera of Belgium (Opéra National / Nationale Opera), a federal institution that receives direct financial support from the Belgian government — one of only a handful of cultural institutions in the country to do so. The theatre is regarded as Belgium's leading opera venue and one of the most significant on the European continent, drawing opera and ballet audiences from across the region. Frequently asked questions Where does the name "La Monnaie" come from? From the ducal mint that previously stood on the site. How many seats does the auditorium have? Around 1,130, in the hall designed by Joseph Poelaert. What historical event is linked to this building? A performance in August 1830 that triggered the outbreak of the Belgian Revolution and the drive for independence. Who designed the theatre's modern entrance? Architect Charles Vandenhove, working with artists Sol LeWitt and Sam Francis.

Théâtre Royal les Cœurs de Bois

Bruksela

Théâtre Royal Les Cœurs de Bois is a Brussels puppet theatre that has been entertaining audiences since 1946, describing its own shows as suitable for spectators "from 3 to 133 years old." It's one of those quietly persistent institutions that Brussels families have known for generations, even though it rarely makes it onto a typical visitor's list of city sights. Where is the theatre located? Since 2015 the company has been based in Laeken, inside the building of the former town hall, close to the Royal Palace and not far from the Atomium. The hall itself is intimate, seating just 80 people — small enough that every seat feels close to the action, with puppeteers performing right in front of the audience rather than behind a distant stage. What kind of shows does it stage? The repertoire draws on a wide mix of storytelling traditions: tales rooted in Asian and Western folklore, popular legends, medieval fables, and Greek mythology all find their way onto the programme. That range means the theatre isn't limited to simple children's fairy tales — it also stages stories aimed at an older audience. The indoor season at the Laeken hall runs from October to May, making it a natural stop during the cooler months of the year. What happens in summer? When the indoor hall takes its break, Guignolet — the theatre's mascot and recurring character — takes over. From early June to late August, the puppeteer performs in the Bois de la Cambre, one of Brussels' largest parks. Together with the City of Brussels, the theatre also organises open-air puppet shows in the Royal Park, with more than 50 free performances staged over the course of the summer. Why is it worth a visit? Théâtre Royal Les Cœurs de Bois is a rare example of a cultural institution that has stuck to a single art form — puppet theatre — for nearly eighty years and still finds an audience for it. For visitors exploring Brussels, it offers something different from the usual museum-and-monument circuit: a live performance in a historic hall, or a free open-air show right next to the Atomium. Its proximity to the Royal Palace and the Atomium makes it easy to combine a visit with other sights in Laeken — a stroll through this part of the city can easily be extended with a stop at the small theatre hall during the season, or with a free summer show in the park if your trip falls between June and August. Frequently asked questions How long has the theatre been running? Théâtre Royal Les Cœurs de Bois has been active continuously since 1946. Who are the shows aimed at? The programme is designed to entertain both children and adults — the theatre itself describes its audience as ranging "from 3 to 133 years old." Where exactly is the theatre hall? In the Laeken district, inside the former town hall building, near the Royal Palace and the Atomium. When does the indoor season run? From October to May. In summer, from June to August, performances move outdoors to the Bois de la Cambre. Are the summer shows free? Yes — the open-air performances in the Royal Park, organised together with the City of Brussels, are free of charge, with more than 50 shows staged each summer.

Royal Toone Theatre

Bruksela

The Royal Theatre Toone is the last survivor of Brussels' once-thriving tradition of rod-marionette puppet theatres, tucked away at the end of two narrow alleyways off rue du Marché aux Herbes/Grasmarkt, just a short walk from the Grand-Place. Finding the entrance takes a bit of effort, and that sense of discovery is part of what makes a visit memorable. Where does the name Toone come from? The theatre was founded around 1830 by Antoine Genty, nicknamed "Toone" — a Brussels-dialect diminutive of the name Antoine. That nickname stuck as the name of the whole enterprise, and every director since has taken on the stage name Toone with a corresponding number, forming an unbroken lineage of puppet-masters. The current director is Nicolas Géal, known as Toone VIII. Why puppets instead of a conventional stage? The theatre's origins are tied to the political climate of the early 19th century. At a time when authorities restricted larger theatrical venues, wary that crowds gathering there might fuel independence sentiment, puppet shows offered a way around those controls — they could be staged in cellars and backyards, out of official view. The format quickly caught on: in the 19th century, particularly in the working-class Marolles district, Brussels is said to have had around fifty such puppet theatres. Audiences were largely working people who could not afford tickets to grand opera houses, and the puppet plays reflected their own everyday lives back at them. What does today's visitor find? The theatre has occupied its current premises since 1966, where the building also houses a tavern and a small puppetry museum alongside the performance space. The repertoire draws on theatrical and literary classics reworked for puppets, including staples like "Romeo and Juliet," "The Three Musketeers," and Nativity plays. The collection holds roughly 1,400 rod marionettes, many of which are still used in performances today. What sets Toone apart from Brussels' other attractions? Unlike a museum display of puppets behind glass, the Royal Theatre Toone is a living stage — its craft is passed down through successive generations of puppet-masters rather than simply preserved as an artifact. That continuity is what makes the place distinctive: it is the sole surviving example of a form of entertainment that was once a genuine mass phenomenon across the city. Frequently asked questions Is Toone a museum or a working theatre? It is an active theatre with a regular performance schedule, not just a historical exhibit, although a small puppet museum operates on the same premises. How do you get to the theatre? The entrance sits off rue du Marché aux Herbes/Grasmarkt, close to the Grand-Place, reached through two narrow alleyways leading to the back of the buildings. Where does the name Toone come from? It's a Brussels-dialect diminutive of Antoine, after founder Antoine Genty, and every subsequent director has taken on the name as a stage title. How many puppets are in the collection? Around 1,400 rod marionettes, some of which are still brought out for performances.

Au B'izou

Anderlecht

Au B'izou is a small café-théâtre in Anderlecht, one of the municipalities of Brussels, founded in 2008 by Jean Saeremans and Iza Loris. It occupies a building at Rue de la Promenade 13 that once housed an upholstery workshop, fully renovated before opening while keeping the character of the original space. Today it is one of those Brussels venues where French song and theatre meet in a close, almost domestic setting. Who founded it? Jean Saeremans and Iza Loris are the pair behind Au B'izou, united by a shared passion for French chanson. Iza Loris has written lyrics for artists such as Julie Zénatti and Hélène Ségara, which gave the venue's artistic identity a strong grounding in the chanson tradition from the very start. According to accounts, both had previously worked as firefighters in Brussels, and they came across the location by chance while looking for a new home — instead of an apartment, they turned it into a stage. What can visitors see there? The programme at Au B'izou centres on French text and song, but it doesn't stop there. The line-up features both established and up-and-coming French and Belgian artists, alongside jazz performances, theatre shows, and storytelling evenings. As a result, the repertoire shifts from week to week and draws audiences with varied musical and theatrical tastes. The venue also has a well-known patron: Belgian singer Salvatore Adamo lends his support to the stage, reinforcing its ties to the French-language song scene. Workshops and creative work Au B'izou is more than a performance hall — it also functions as a creative workshop space. Writing and music composition workshops are held here, led by recognised names from the chanson world, including Hugues Maréchal, Claude Lemesle, Claude Semal, and Rémo Gary. This gives the venue a dual role: a stage for performances and something of an incubator for emerging songwriters and composers. The character of the space The building that houses B'izou was originally an upholstery workshop. During its conversion into a performance venue, the original character of the space was preserved, giving the interior a distinctive, slightly raw atmosphere rather than the polished look of a standard concert hall. The intimate scale of the place encourages close contact between performers and audience, a quality typical of the café-théâtre format. Frequently asked questions Where exactly is Au B'izou located? At Rue de la Promenade 13, in Anderlecht, a municipality of Brussels. When was it founded? In 2008, by Jean Saeremans and Iza Loris. What kind of programme does it offer? Mostly French and Belgian song, but also jazz, theatre, and storytelling performances. Is it only a concert venue? No — Au B'izou also runs songwriting and music composition workshops with well-known figures from the French chanson scene. What is notable about the building itself? It is a former upholstery workshop, restored while preserving the character of the original interior.

Eden Charleroi

Charleroi

Eden is a cultural centre at the heart of Charleroi, housed in the building of the city's former theatre. It blends late-19th-century architecture with a lively contemporary arts programme — concerts, theatre, stand-up comedy, public debates and hip-hop events all share the same stage. Where does the name Eden come from? The building takes its name from the original theatre erected in 1884–1885, designed by architect Auguste Cador. It was the first theatre in Charleroi built from durable materials, a notable step up from the more makeshift venues that had served the city before. Throughout the 1890s it hosted operettas and Walloon-language plays, which drew enthusiastic local audiences. How did its role change over time? Shortly before the outbreak of the Second World War, the building was purchased by the Province of Hainaut, which kept it from closing during the difficult years that followed. A turning point came in 1992, when management passed to the Maison de la Culture de Charleroi and the venue became part of the city's Centre Culturel. A few years later, between 1996 and 1997, it underwent a thorough renovation led by architects Pierre and Pablo Lhoas, which modernised the interior while preserving the building's historic shell. What happens at Eden today? Eden now operates as a regional Cultural Centre, officially recognised and subsidised by the Fédération Wallonie-Bruxelles, the Walloon Region, the Province of Hainaut and the City of Charleroi. Its programming is remarkably varied: music concerts spanning multiple genres, theatre for children and adults, comedy nights, community debates and discussions, open stages for local artists, and events rooted in hip-hop and urban culture. Eden also acts as a rallying point for civic and festival initiatives, drawing in residents from across Charleroi's different districts. Why is it worth a visit? Eden is a place where history meets the present — its 19th-century architecture provides the backdrop for a programme aimed at a strikingly broad audience, from classical theatre lovers to fans of alternative and street culture. For visitors to Charleroi, it offers a good look at how a former theatre building can take on a new, multi-layered life as a hub for the local community. Frequently asked questions Is Eden only a theatre? No — despite its theatrical roots, it is now a multi-purpose cultural centre combining concerts, performances, debates and civic events. Who designed the original building? Architect Auguste Cador, who built it in 1884–1885. When did the building take on its current form? After a renovation in 1996–1997, led by architects Pierre and Pablo Lhoas. Who is Eden's programme aimed at? It is broad-based, with events for children, adults, and fans of alternative and hip-hop culture alike.

Theater Krakeel

Gandawa

Theater Krakeel is an amateur theatre company based in the Gentbrugge district of Ghent, at Teaterstraat 33. The group was founded in 1982 by a group of people who, after finishing their academy training in acting, wanted to keep making theatre — but on their own terms, away from the conventions of classical, institutional stages. Since then, Krakeel has operated continuously, building a loyal local audience and a name recognised well beyond its own neighbourhood. What does Theater Krakeel do? The company develops its own theatrical productions, staged regularly during the season in its venue on Teaterstraat. Past and recent productions include titles such as "Machinaal," "Wildernis," "Opstand," "Mouchette," "Peupeur," and "Moodswings" — works that blend drama with contemporary and social themes typical of independent, non-professional theatre. Ticket prices are generally modest, in the range of a dozen or so euros, keeping the programme accessible to a broad audience rather than just theatre insiders. What role does Krakeel play in Ghent's cultural scene? Theater Krakeel collaborates with VZW GAMA, an organisation that brings together more than 25 amateur actors from ten different theatre groups active in Ghent. Through this partnership, Krakeel functions not only as an individual company but as a node in a wider network of amateur theatre across the city, supporting shared projects and the exchange of experience between local creators. This gives the venue a significance that extends beyond its own stage, making it a reference point for the city's non-professional theatre scene as a whole. Who is this place for? Theater Krakeel is aimed primarily at people interested in alternative and independent culture — those looking for theatre closer to experiment and community than to the big repertory stages. It is also a worthwhile stop for visitors to Ghent who want to experience the city's cultural life beyond the well-trodden path of the historic centre's monuments. Gentbrugge, a district east of the old town, offers a glimpse of a more residential, less touristic side of the city. How to get to Theater Krakeel? The theatre is located at Teaterstraat 33 in Gentbrugge (postal code 9050), easily reached from central Ghent by public transport. Current programming and ticket sales are handled through the krakeel.be website and Flemish cultural platforms such as UiTinVlaanderen. Frequently asked questions Is Theater Krakeel a professional theatre? No — it is an amateur company, founded in 1982 by people who had completed academy training in acting but chose an independent path away from classical, professional stages. Where exactly is the theatre located? At Teaterstraat 33 in Gentbrugge, a district of Ghent with postal code 9050. What kind of productions can be seen there? The repertoire changes seasonally — past productions have included titles such as "Machinaal," "Wildernis," "Opstand," and "Moodswings." Does the theatre collaborate with other groups? Yes, through VZW GAMA, a network bringing together more than 25 amateur actors from ten theatre groups across Ghent.

Capitole Theatre

Gandawa

Capitole Theatre is one of Ghent's most distinctive performance venues, pairing a pre-cinema neoclassical facade with an art-deco interior that has served both film audiences and stage productions across nearly a century. Where does the building's facade come from? The exterior facade, featuring a triangular pediment and a neoclassical-style colonnade, actually predates the venue's life as a cinema — it dates back to 1850. That gap between the older, restrained street front and the far more ambitious interior behind it is part of what makes the building stand out in central Ghent today. When was the cinema built, and by whom? In 1932, architect Geo Henderick built a new auditorium behind the existing facade, one that was considered close to perfect for its time in terms of both acoustics and sightlines. The Capitole Cinema was never limited to film screenings alone: its programme also included live entertainment, ranging from small variety acts to large-scale revues featuring many of the era's biggest stars. From the outset, the venue functioned as a meeting point between cinema and live show business rather than as a pure screening room. What happened to the cinema after its heyday? The Capitole Cinema operated for decades before finally closing its doors in 1986. The building then sat empty for 14 years — a long stretch during which a venue with such architectural and acoustic potential remained unused in the heart of the city. That changed when the property was acquired by Geert Allaert, opening the way for its second life. How was it revived as a theatre? Following extensive refurbishment and modernisation, the building reopened on Sunday, 28 October 2001, this time as a performing arts venue under the name Capitole Theatre. The reopening was marked by the premiere of the musical "Camelot." As part of the renovation, the auditorium itself was expanded, with a larger stage and enlarged backstage area designed to support far more complex stage productions than the venue's earlier film programme required. What is Capitole Theatre today? Today, Capitole Theatre is a key fixture on Ghent's cultural map, hosting musicals, concerts, and comedy shows. Its art-deco interior, preserved through repeated rounds of modernisation, remains the venue's signature feature and continues to draw both local audiences and visitors interested in the history of performance architecture. Frequently asked questions Was Capitole Theatre originally a cinema? Yes — the building was constructed as a cinema in 1932, behind a 19th-century facade, and has only operated as a theatre since 2001, following years of closure and a full renovation. Who designed the venue's interior? The interior was designed by architect Geo Henderick, whose layout was praised at the time for its acoustics and sightlines. Why was the cinema closed for so long? The Capitole Cinema ceased operating in 1986 and stood empty for 14 years until a new owner stepped in to invest in restoring it. What was the first show after it reopened? The theatre reopened on 28 October 2001 with the premiere of the musical "Camelot."

Auditorium Jacques Brel

Anderlecht

Auditorium Jacques Brel Auditorium Jacques Brel is a performance hall in Anderlecht, one of the municipalities of Brussels, located on the grounds of the CERIA educational campus at Avenue Emile Gryzon 1. For decades it has served the local community as a venue for cultural, educational and conference events, and it remains one of the larger performance spaces in this part of the city. Where does the name come from and what is the building's history? The building was designed by the Polak brothers and officially opened in 1958 under the name Grand Auditorium. It was built as part of the wider CERIA educational complex, which from the outset combined teaching facilities with a space for public events. The hall has carried its current name, Auditorium Jacques Brel, since 2003, a year dedicated to the memory of the Belgian singer-songwriter Jacques Brel. The renaming was part of a broader wave of tributes to the artist across Brussels, a city with which he was closely associated throughout his life. How large is the hall and how many seats does it have? The auditorium ranks among the larger performance venues in Anderlecht, with a total capacity of 828 seats. These are spread across three levels: the ground floor holds 474 seats, the first balcony 76 seats, and the second balcony a further 278 seats. This layout makes it possible to host anything from smaller gatherings to large-scale events with several hundred attendees at once. What technical facilities does the stage offer? The stage measures 12 metres in depth and 10 metres in width, allowing for a wide range of productions, from concerts to theatrical plays and larger staged shows. The venue is equipped with professional equipment operated by trained technical staff, and event organisers can count on a hall commissioner overseeing the proper running of each event. Dressing rooms are also available for performers, making the venue a practical base for visiting ensembles and soloists. What is the hall used for today? Given its size and facilities, Auditorium Jacques Brel serves a wide range of purposes. It hosts educational and cultural events connected to the activities of the CERIA campus, as well as seminars, conferences and academic sessions. The hall also welcomes international meetings, concerts, operettas, ballet performances, theatrical shows and film screenings. This diversity has kept the venue an important fixture on Anderlecht's cultural map for decades, bridging its role as part of an educational institution with that of a stage open to the wider public. Where exactly is Auditorium Jacques Brel located? The hall is located at Avenue Emile Gryzon 1 in Anderlecht (postal code 1070), right next to the metro station that shares its name, Jacques Brel. Its position within an educational campus ties the venue closely to the teaching activities carried out on site, while still keeping it accessible to organisers of outside events. Frequently asked questions How many seats does Auditorium Jacques Brel have? The hall has 828 seats in total, spread across the ground floor and two balcony levels. Where does the hall's name come from? Since 2003, the year dedicated to Jacques Brel, the venue has carried the name of the Belgian artist; before that it was known as Grand Auditorium. Who designed the building and when was it built? The building was designed by the Polak brothers and opened in 1958. What kind of events take place at Auditorium Jacques Brel? Everything from concerts and theatrical plays to operettas and ballet performances, as well as conferences, seminars and academic sessions linked to the CERIA campus.

De Nieuwe Vrede

Antwerpen

De Nieuwe Vrede is a multipurpose cultural venue in the Berchem district of Antwerp, located at Vredestraat 16-22. Combining a theatre hall, event rooms, exhibition space and a café, the site carries a history stretching back to the late nineteenth century. Where did the building and its name come from? The building was constructed in 1895 as a parish house (patronaat) attached to the St Willibrordus church, built in a neo-Gothic style and originally used as a meeting and activity space for parishioners. In 1936 the building was expanded, taking on a shape close to the theatre complex seen today. For decades it operated under the name "De Vrede" and was run by a group of parish volunteers. What role did it play in local culture? The hall was for a long time a rehearsal and performance space for numerous amateur theatre groups from Berchem and the surrounding area. It also hosted the annual Landjuweel, a traditional amateur theatre competition with deep roots in Belgian stage culture. Despite this rich history, the potential of the hall complex largely went unused for many years. How was the venue brought back to life? A group of committed Berchem residents saw an opportunity in the gradually underused building and wanted to turn it into a new space for art and community gathering. They took over the building on a long-term lease from the parish and transformed it into a venue operating under the name "De Nieuwe Vrede" — the New Peace. The ribbon was ceremonially cut and the renovated complex officially opened on 22 September 2012. What does De Nieuwe Vrede offer today? The complex comprises thirteen different rooms used for meetings, rehearsals, exhibitions and congresses. At its heart is a full-scale theatre hall seating 210 spectators, equipped with a 12-by-7-metre stage, a professional lighting system, dressing rooms for performers and a loading dock for scenery. Visitors can also enjoy a cosy café to meet before or after an event. Today the venue functions as a flexible event hall, hosting concerts, conferences, debates, lectures, networking events, theatre performances and school activities. Given the nature of the space, religious activities are not permitted there. Who is this place for? De Nieuwe Vrede mainly appeals to Antwerp residents interested in the local cultural scene — amateur theatre enthusiasts, conference and networking attendees, and anyone looking for an intimate hall to host a private or corporate event. It also stands as a good example of how a local community can preserve a historic building and give it new life through its own initiative. Frequently asked questions Where exactly is De Nieuwe Vrede located? At Vredestraat 16-22 in the Berchem district of Antwerp. How many people can the theatre hall seat? The main theatre hall has 210 seats. Since when has the current De Nieuwe Vrede been operating? The renovated complex officially opened on 22 September 2012, though the building itself dates back to 1895. Can the venue host a conference or corporate meeting? Yes, the complex offers thirteen different rooms suited among other things to conferences and networking events.

Theater de Waanzin

Gandawa

Theater de WAANzin is a modest yet culturally significant venue in Ghent — a theater at Nieuwe Vaart 118 run by an amateur, non-subsidized company that has nonetheless maintained a semi-professional standard of production for decades. Where does the theater come from? The company grew out of the Germanistentheater, a student theater tied to Ghent University's Germanic studies department. Over time it developed into an independent, fully formed theater with its own venue and regular repertoire. The name WAANzin references the Dutch word "waan" — meaning illusion, longing, and hope — themes that have long served as the quintessential metaphor for theater and the art of staged pretense. What makes this theater stand out among Ghent's stages? The hall at Nieuwe Vaart seats 75 people and is one of the few fully equipped, self-owned theater spaces in Ghent belonging to an amateur company — most comparable groups rely on rented venues instead. In November 2011, the Ghent fire department formally certified the building as completely fire-safe, allowing the theater to operate without restriction as a permanent stage. What have been the company's major achievements? In 1998, on the occasion of its tenth anniversary, the Flemish Community awarded WAANzin the title of Cultural Ambassador of Flanders — the first amateur theater company ever to receive this honor. The recognition cemented the group's status as more than a local student initiative, turning it into a recognized cultural brand within the region. The company's biggest repertoire success was its own creation, "Shakespeare Complete in 97½ Minutes," a condensed, humorous take on Shakespeare's works. Between October 1997 and May 2008, the ensemble performed it more than 70 times, touring the production across Flanders and abroad. Where else has the company performed beyond Ghent? WAANzin has maintained an extensive international presence for years. Its productions have been staged in the Netherlands, Germany, Luxembourg, Spain, Great Britain, Denmark, Ireland, Estonia, Sweden, and Russia — a rare reach for a non-subsidized amateur theater group of this scale. What has changed in recent years? On January 1, 2023, two Ghent theater companies, TRAC and de WAANzin, merged into a single group. The merger carried symbolic weight: TRAC's very first production, back in 1993, had actually taken place in the WAANzin hall, so the union closed a kind of historical loop between the two stages. Despite the organizational change, the name Theater de WAANzin was retained, along with the company's signature focus on illusion and pretense as the foundation of its stagecraft. Frequently asked questions Is Theater de WAANzin a professional theater? No — it is an amateur company, not subsidized by the state, though it is often classified among semi-professional theaters due to its production quality. How many seats does the theater hall have? The hall at Nieuwe Vaart 118 seats 75 people. What awards has the theater received? In 1998, on its tenth anniversary, the theater received the title of Cultural Ambassador of Flanders — the first amateur company to be honored this way. Does the company perform outside Belgium? Yes, it has toured in the Netherlands, Germany, Spain, Great Britain, Denmark, Ireland, Estonia, Sweden, and Russia, among others.

Stadsschouwburg Leuven

Leuven

Stadsschouwburg Leuven is the municipal theatre of Leuven, one of Belgium's oldest university towns, located in the Flemish Brabant region. The building stands on the site of the former Frascati hall, which was torn down in 1864 when the city decided to build a proper, dedicated venue for public performances. The new theatre opened its doors on 3 September 1867 and quickly became a central part of the city's cultural life. What happened to the building over the years? The history of the Stadsschouwburg has been anything but quiet. During the First World War, a fire tore through the building, leaving only the exterior walls and the shell of the main hall standing. Reconstruction was carried out under architect A. Alban, with the design of the new interior decided through a competition won by Jules Van den Hende. The rebuilding work was completed in 1931, and after further finishing touches the renovated municipal theatre reopened in March 1938. At the time it was regarded as one of the most technically advanced theatre venues in Belgium, praised for its modern stage equipment and infrastructure. That stability did not last either. Bombing during the fighting of 1944–1945 damaged the building again, and repairs were only finished in 1952. Despite these repeated setbacks, the theatre was rebuilt each time, which today makes it something of a physical record of Leuven's turbulent twentieth-century history. What does the architecture look like? The building is known for its neoclassical façade, marked by the balanced proportions and symmetry typical of the style, along with carefully worked architectural detailing. Inside, the focus is the main auditorium, designed for strong acoustics and a comfortable audience experience. The combination of a nineteenth-century exterior with an interior largely rebuilt in the 1930s means the theatre carries traces of several distinct periods — the original neoclassical design, the interwar reconstruction, and the postwar repairs of the 1950s. What role does it play in the city today? Stadsschouwburg Leuven remains the city's main theatre, hosting stage productions and other cultural events held in Leuven. Its location in the historic centre makes it a natural cultural landmark for both residents and visitors exploring the university city's offerings. Even for travellers not attending a performance, the building's striking neoclassical façade and layered history make it a worthwhile stop while walking through central Leuven. Frequently asked questions When was Stadsschouwburg Leuven built? The current building opened on 3 September 1867, on the site of the earlier Frascati hall, which had been demolished in 1864. Why has the theatre been rebuilt more than once? A fire during the First World War destroyed most of the interior, and the building was later damaged again during the fighting of 1944–1945. The first major reconstruction was completed in 1931, with the reopening following in 1938, and further repairs were carried out in 1952. What architectural style does the building represent? The façade is neoclassical, characterised by symmetrical proportions and detailed ornamentation. Is the theatre still in use? Yes, Stadsschouwburg Leuven continues to operate as Leuven's municipal theatre and a venue for cultural events.

De Poesje

Antwerpen

De Poesje is one of the oldest surviving puppet theatres in Antwerp, tucked away in a basement on Repenstraat, right in the heart of the old town. The name "poesje" is short for "poesjenellentheater," the local Antwerp term for a rod-puppet theatre — as opposed to hand puppets, which the name might otherwise suggest. This particular venue has operated continuously since 1862 without ever changing address, making it a living witness to more than a century and a half of local entertainment tradition. Where does the poesjenellen tradition come from? Poesjenellen, the rod puppets typical of Antwerp, trace their roots to Italian street theatre and have been part of the city's folk culture since the 16th century. For centuries this form of entertainment was accessible to the broadest possible audience — it required no literacy and no money for expensive tickets, and its appeal lay in direct, often coarse humour. The repertoire of poesjenellentheater never aimed at high culture: it is folk theatre, where the puppets curse, fight, and sing, all delivered in thick, authentic Antwerp dialect. What can you see in the Repenstraat basement? The room itself, where performances have taken place for over 160 years, is as much of an attraction as the show. The small, stone basement where the troupe has been performing preserves the atmosphere of an old, intimate stage — no modern theatre comforts, but instead the genuine feel of a place that has watched generations of Antwerp residents laugh at the same jokes that once amused their great-grandparents. It is precisely this continuity that has earned De Poesje its reputation as the oldest surviving puppet theatre in Antwerp and one of the oldest in the world. Who keeps the poesjenellen tradition alive today? Today, several groups carry the Antwerp puppet theatre tradition forward, including Poesje van de Reep and Poesje van de Lange Wapper, both of which draw a direct line back to the historic stage on Repenstraat. Thanks to them, poesjenellen has not become a mere museum piece but remains a living form of entertainment, still staged for residents and visitors alike. Performances take place on a regular basis, and local cultural organisations such as CEMPER document and preserve the collections tied to this tradition — from the puppets themselves to stage sets and scripts. Why visit De Poesje? For anyone exploring Antwerp, De Poesje offers something quite different from the usual sights like the cathedral or the Grote Markt — a literal and figurative descent into the city's underground folk culture. The venue reveals a lesser-known side of Antwerp: a city of craftsmen, dockworkers, and local humour that has survived through the centuries. It is also a rare chance to hear authentic Antwerp dialect in its most vivid, theatrical form. Frequently asked questions How does poesjenellentheater differ from ordinary puppet theatre? Poesjenellen are rod-operated puppets rather than hand puppets — a technique rooted in Italian street theatre and distinctive to Antwerp. Since when has the theatre on Repenstraat been operating? The stage at this location has run continuously since 1862, making it the oldest surviving puppet theatre in the city. What is the character of the performances? It is folk entertainment — comic, sometimes coarse, performed in Antwerp dialect, featuring fights, curses, and songs. Is the poesjenellen tradition still alive? Yes, it is carried on by groups such as Poesje van de Reep and Poesje van de Lange Wapper, while historical materials are collected by organisations like CEMPER.

Het Depot

Leuven

Het Depot is a concert hall and cultural venue in Leuven, standing on Martelarenplein right next to the city's train station. It's one of the key music venues in this part of Flanders, hosting more than 180 concerts and festivals every year, ranging from club nights to larger productions. Where does the name come from? The story starts around the turn of the millennium. By the year 2000, Leuven had lost all its suitable music venues — a city that once had places for live music suddenly found itself without proper infrastructure. A group of local music enthusiasts and scene insiders began pushing local politicians to fix the gap. Things moved forward in 2001, when the need for a proper music centre was formally written into the city's cultural policy plan, and in 2003 the non-profit organisation vzw Het Depot was founded. The original plan was to house the new music centre inside the monumental Entrepot building at Vaartkom in Leuven. That's actually where the founders' first working name came from: simply "Het Entrepot." The problem was that, at almost the exact same moment, a youth centre with the identical name "Entrepot" opened in Bruges. To avoid confusion, Leuven went with a more colloquial, everyday version of the same word for warehouse — and that's how "Het Depot" was born. What does the venue look like today? The main, large concert hall has a maximum capacity of 960 people — 290 seated and 670 standing — which gives the venue flexibility depending on the type of event: a seated setup suits an intimate acoustic show, while a standing configuration works for a club night with a DJ. Sitting right on Martelarenplein, next to the train station, makes the venue easy to reach both for Leuven locals and for visitors arriving by train from Brussels or Antwerp. Regulars sometimes describe Het Depot as a kind of "temple of music" for the city — a label that reflects the role this stage has played in Leuven's cultural life for more than two decades. What happens here? Het Depot's programme spans concerts across many musical genres, festivals, and — in keeping with a venue that combines the roles of concert hall and cinema — film screenings. That mix draws a genuinely varied crowd: rock and electronic music fans, jazz lovers (Het Depot is one of the venues used by the Leuven Jazz festival), and cinema-goers alike. The venue is run by the non-profit organisation vzw Het Depot, which has managed the programming and operations of the hall since it was founded. Frequently asked questions How many people can Het Depot hold? The main concert hall has a maximum capacity of 960 people — 290 seated and 670 standing. Where exactly is Het Depot located? On Martelarenplein in Leuven, directly next to the train station. Where does the name "Het Depot" come from? The founders originally planned to call it "Het Entrepot," after the Entrepot building at Vaartkom where the centre was meant to be housed. Because a youth centre in Bruges opened under the same name around the same time, Leuven chose a more colloquial version instead — "Het Depot." When was the organisation behind Het Depot founded? The non-profit vzw Het Depot was founded in 2003, after the need for a music centre was written into the city's cultural policy plan in 2001. Is there more to Het Depot than concerts? Yes — it also hosts film screenings and festivals, combining the functions of a concert hall and a cinema.

Royal Opera

Ghent Opera (Opera Gent, also referred to as the Royal Opera) is a historic opera house in the heart of Ghent, Belgium, and one of the two homes of the Flemish Opera (Opera Ballet Vlaanderen), alongside its sister venue in Antwerp. Why was it built? The building went up between 1837 and 1840, commissioned by wealthy Ghent industrialists who wanted the city to have a grand theatre matching the region's growing prosperity. It was constructed on the site of the demolished Sint-Sebastiaanschouwburg, formerly the theatre of the local archers' guild. The venue was originally known as the "Grand Théâtre." Who designed it? The architect behind the project was Louis Roelandt (1786–1864), who served as Ghent's city architect from 1818 onward and is regarded as one of the key figures in the development of Neo-Classical and Neo-Renaissance architecture in Belgium. Besides the opera house, Roelandt also designed the nearby law courts and the La Concorde ballroom on Kouter square, both among his most significant works in the city. What does the interior look like? The building is Neo-Classical in style with eclectic touches. Inside, three connected halls — the foyer, the Redoute Hall and the Lully Hall — form an impressive enfilade roughly 90 metres long. At its centre sits a horseshoe-shaped auditorium, built in the tradition of French theatres of the early 19th century and equipped with technical facilities that were advanced for their time. The building has largely retained its original, historic character. What happens there today? The venue is one of two stages of the Flemish Opera (Vlaamse Opera / Opera Ballet Vlaanderen), together with its counterpart in Antwerp. It hosts opera productions, ballet performances and concerts, drawing audiences from Belgium and abroad. What about the renovation? The building is set for a major overhaul: a roughly €70 million project will restore Roelandt's 19th-century structure and expand the complex to include a neighbouring former post office building. As a result, the Ghent Opera House is scheduled to close from January 2026, with reopening planned around 2030. Frequently asked questions Is this the same Royal Opera as the one in London? No. Several different institutions around the world share the name "Royal Opera." Alongside the one in Ghent, the best-known is the Royal Opera House in London's Covent Garden, home to The Royal Opera and The Royal Ballet — an entirely separate, unrelated venue. Where exactly is the building located? In the centre of Ghent, in the East Flanders region of Belgium. When was the building constructed? It was built between 1837 and 1840 to a design by architect Louis Roelandt. Can visitors currently attend performances or tours? Until the scheduled renovation begins (from January 2026), the venue operated as an active opera and ballet stage; during the restoration works it will remain closed to the public until the planned reopening.

Bij’ De Vieze Gasten

Bij' De Vieze Gasten is a socio-artistic cultural venue in the Brugse Poort neighborhood of Ghent, located on Reinaertstraat next to the 't Pierkespark park. Its name traces back to the theatre troupe Vuile Mong en zijn Vieze Gasten, founded in the early 1970s by Mong Rosseel together with Magda Demeester, Jan Van Daele, Guido Schiffer and Fabien Audooren. Before finding a permanent home, the group spent years as a travelling theatre company, building a reputation for socially engaged street performances and cabaret. In 1974 the troupe even scored a radio hit with "Het Apekot," cementing its place as a voice of popular, socially committed culture in Flanders. A turning point came in 1999, when the group settled permanently on Reinaertstraat, right in the middle of the working-class Brugse Poort neighbourhood. Since 2001 the venue has served as a beating cultural heart for the district, offering a theatre hall and a meeting space for residents from widely different backgrounds. Rather than a conventional performance venue, it functions as an incubator — a "broedplaats" — for artistic projects created jointly by neighbourhood residents and professional artists. The programme covers theatre, family shows, music concerts, cabaret and comedy. The organisation's stated mission is to reach people who rarely engage with culture on their own initiative, which is why ticket prices are kept as low as possible. Its socio-artistic projects are participatory by design: they are produced through collaboration between local residents and professional artists, setting the venue apart from institutions focused solely on staging finished productions for a paying audience. Brugse Poort itself, the neighbourhood housing Bij' De Vieze Gasten, is one of Ghent's characteristic 19th-century working-class districts, shaped during the industrial revolution. From the 1830s onward, textile factories were built here continuously, giving the area its dense, multicultural, working-class character that persists today. The neighbourhood's name comes from a former city gate that remained in use until 1860. It is against this social backdrop that Bij' De Vieze Gasten pursues its mission: using art and culture to help build an open, curious community that shows understanding and respect for diversity, offers opportunities to every resident, and works toward cooperation and social justice. For visitors to Ghent, the venue offers something different from the usual historic-centre sightseeing — an authentic window into the cultural life of one of the city's most multicultural working-class neighbourhoods, with a varied programme of events running throughout the year. Frequently Asked Questions Where exactly is Bij' De Vieze Gasten located? In the Brugse Poort neighbourhood of Ghent, on Reinaertstraat, near the 't Pierkespark park. Where does the name come from? From the theatre troupe Vuile Mong en zijn Vieze Gasten, founded in the early 1970s by Mong Rosseel and collaborators. Since when has it been at its current location? The group settled on Reinaertstraat in 1999, and it has operated as the neighbourhood's permanent cultural centre since 2001. What kind of events does it host? Theatre, family shows, concerts, cabaret and comedy, often produced as socio-artistic projects involving neighbourhood residents.