- September 17th – 19th, 2025 Biennale Danse Lyon, Lyon
- September 24th – 25th, 2025 Theater Rotterdam, Rotterdam
- October 12th, 2025 Festival Aperto, Reggio Emilia
- October 23rd – 24th, 2025 SPAF, Seoul
- November 7th – 9th, 2025 National Theater NPAC-NTCH, Taipei
- November 20th – 21st, 2025 La Comédie, Valence
- November 26th – 27th, 2025 La Comédie de Clermont-Ferrand, Clermont-Ferrand
- December 2nd, 2025 Les Salins, Martigues
- December 12th – 13th, 2025 TANDEM, Douai
- January 13th, 2026 Schouwburg Concertzaal, Tilburg
- January 20th, 2026 Parkstad Limburg Theaters, Heerlen
- January 21st, 2026 Theater de Veste, Delft
- January 31st, 2026 Grand Theatre, Groningen
- February 3rd – 4th, 2026 VIERNULVIER, Ghent
- February 11th – 12th, 2026 KLAP, Marseille
- April 2nd – 3rd, 2026 ITA, Amsterdam
- April 21st, 2026 centre culturel, Hasselt
- April 22nd, 2026 centre culturel, Sint-Niklaas
- April 24th – 25th, 2026 De Singel, Antwerp
- May 5th – 7th, 2026 STUK, Leuven
Duration: unknown
The Dog Days Are Back
Thanks to its radical choreographic form, THE DOG DAYS ARE OVER revealed the audience’s perception of dancers, choreographers, spectators and the cultural policy at the time. Ten years on, these questions are still very much relevant due to current political and social trends: Where does the thin line between art and entertainment lie? Who are we as an audience when we contemplate the suffering of dancers from the theatre like a bullfight in an arena? Is contemporary dance striptease for the elite? THE DOG DAYS ARE OVER makes the viewer shift in his position: from being merely subjected to the experience to actively reflecting on it.
