Par Hasard & NTGent Par Hasard

Mira Bryssinck, Fred Libert and Laura Vroom take you on a journey of discovery through NTGent Minnemeers, where works-in-progress come to life in unexpected corners of the building.

Par Hasard vzw was founded in 2020 as a two-legged non-profit organisation run by three people. On one hand, they create theatre-based work shaped by text, image, and sound. On the other, they curate emerging artists through an open-call-based platform. The platform takes the form of a guided journey through the work of peers—artists who are still shaping their practice.

For this edition of Par Hasard x NTGent, Mira Bryssinck, Fred Libert and Laura Vroom invite a range of makers, performers and musicians to share their work-in-progress with an audience. From text to conversation, scene to somersault, song to silence—visitors gain a rare glimpse into the creative process of diverse artists.

Par Hasard offers a rare opportunity to witness what usually happens behind the scenes. The audience is literally invited to peek into the 'cooking pots' of the arts—before any work reaches its final form.

This edition takes place at NTGent Minnemeers. Alongside the main theatre, other lesser-known spaces in the building will be explored and transformed into part of the performance route.

On Saturday 24 May, three different performance routes begin at 14:00, 17:00 and 20:00.

Programme – Saturday the 24th of May

Geen Therapie - Teletext (Sascha Bornkamp & Leonore Spee)

Geen Therapie is a hybrid performance that uses the language of pop concerts to uncover theatrical depth. Through literary slow-rap, absurd characters, and musical scenes, it blurs the line between performance and play. Audiences are invited to move between irony and genuine emotion. Teletext drives this musical narrative.

Future Daughter – Nathaniel Moore
Choreography: Nathaniel Moore | Sound & Installation: Charlie Usher

Future Daughter is an immersive performance set inside a multi-temporal femur bone. In a utopian future free of oppression, the audience observes a man in 2025—alienated and ill—attempting to reconnect with his erased ancestors through dance. By opening bones as bridges through time, he becomes an ancestor himself—receptive to the future.

Inspired by Nora Chipaumire’s call to listen to ancestral rhythms through one’s bones, this work explores how memory, the body and ecology can shape new ways of thinking about the future. A poetic and speculative gesture toward a world otherwise.

Esotheriko Lyrriko – Nela Deleu

Esotheriko Lyrriko is the final part of Nela Deleu’s personal trilogy on multilingualism, otherness, integration and belonging—following VLAMINGO and InTeGratio. In this piece, she explores how the artist as ‘stranger’ communicates with an audience, and how that position gains meaning within an artistic context.

This audio-autobiographical performance acts as a sonic self-portrait: a testament to the idea that an artist ceases to be a stranger only when they allow themselves to fully inhabit that role—without shame or discomfort. Esotheriko Lyrriko offers not a definitive answer, but an open, poetic question.

Julian Gypens

Julian Gypens dares to combine two of the most insufferable art forms: stand-up comedy and contemporary dance. In this new solo, they explore the experience of breaking their back halfway through dance school—and the ensuing mental collapse.

Trigger warning: This performance contains scenes with nudity.

JOS – Niels Nijs

JOS takes place in a brightly lit fish shop on the verge of bankruptcy. A woman leans over the aquarium as if reading the future in the water. A man cleans the glass, trying to hold himself together. And Jos—the last fish—swims in circles, at the heart of a difficult decision: sell and start over, or hold on and go under?

This melancholic and absurdist performance is about letting go and holding on, about the paralysis of choice, and the loneliness that often accompanies it. Inspired by the writing of Freek Mariën and Magne van den Berg, and the visual style of Roy Anderson, JOS explores how language and physical posture make internal conflict visible on stage.