theatre for a young audience

BRONKS creates a trailblazing theatre programme for a young audience, using humour and sharp wit as a common thread to reflect on the city and the world around it, just like the glass front of its building.

In the metropolis of Brussels, BRONKS is both a cosmopolitan spirit and a homebird. Bold, exuberant, and just a touch dangerous – while also open-minded, sensitive, and warm. Alongside Dutch, BRONKS speaks the languages of image and movement, and its programming reflects the city as a crossroads of cultures, identities, languages, and art forms.

BRONKS kindles a love for the performing arts in even the most reluctant audiences, and makes space for the artistic desires of both new and seasoned makers. Children and young people find in BRONKS a place that inspires and nurtures – where they can take their first wobbly steps and later leave their own, confident mark: on, next to, and around the stage.

history

Time for a look back, maybe? Because since Terugblik Misschien?, the very first BRONKS production by Paul Peyskens, BRONKS hasn’t just built a building – it has also constructed a leading artistic, educational, and international presence. Take a look at our history.

1991-2009: A nomadic start 

In 1991, when her youth programme for Beursschouwburg outgrew the theatre, Oda Van Neygen founded her own youth theatre. BRONKS – an acronym for BRussel ONderwijs Kunst Kinderen Samenleving (Brussels Education Art Children Society) – was born from the need for a dedicated youth theatre in Brussels. For years, it led a nomadic existence. Performances were programmed at the Palais des Beaux Arts, De Markten, De Kriekelaar, and many other Brussels theatres.

Nevertheless, BRONKS was quickly able to establish itself as a force for innovation on the youth theatre scene. The performance Ola Pola Potloodgat (2001) by Pascale Platel and Randi De Vlieghe received both the 1000 Watt prize and the Grote Theaterfestivalprijs.

From its inception, BRONKS developed a particular, often absurdist style with layered, brutal humour, challenging the traditional separation between youth and adult theatre. By inviting makers from the adult theatre world to create for a young audience, a daring, influential theatrical voice arose. One thing became clear throughout its programming: BRONKS considers young people to be fully-fledged viewers, creators and actors in the performing arts scene.

2010-2018: BRONKS anchors down

After nearly two decades of nomadism, BRONKS finally finds a home. On 21 March 2009, the organisation moves into a brand-new, architecturally refreshing building on Marché aux Porcs. This own home symbolises not only a literal anchoring, but also a coming of age. It offers the long-awaited space for expansion, enrichment and long-term development.

The BRONKS building becomes a home not only for its makers and employees, but also for the many children and youngsters who take part in its expanding educational offering. A set programme of (holiday) workshops is established, complemented by temporary projects that focus on connection with and expansion towards the schools and organisations in the neighbourhood.

In 2012, BRONKS starts making its mark internationally. The original BRONKS festival is renamed EXPORT/IMPORT FESTIVAL and draws foreign productions and international programmers to the Brussels scene. Since 2018, our French-speaking colleagues at La montagne magique have joined this effort to internationalise the Belgian performing arts for young audiences. The biennial EXPORT/IMPORT FESTIVAL still offers a smorgasbord of the best youth theatre of the moment.

More international success came in the form of Carly Wijs’ WIJ/ZIJ (2014). After hugely positive reviews at the Edinburgh Fringe Festival, including a five-star review in The Guardian, the production toured the world, including stops in the UK, the US, South Africa, Australia and Canada. A one-of-a-kind success, one would think – but Randi De Vlieghe’s Rita (2018) in co-production with Tuning People elicited similar international interest.

Oda Van Neygen remained BRONKS’ artistic leader until her retirement in 2014. That same year, she was awarded the Cultuurprijs voor Cultuureducatie (Cultural Prize for Cultural Education), a well-deserved reward for her sustained efforts over the years. Veerle Kerckhoven & Marij De Nys took over the artistic leadership as a duo until September 2018.

2018-now: A co-creative shock

In 2018, Veerle Kerckhoven becomes artistic director of BRONKS. The focus shifts more than ever towards co-creation, talent development, and long-term collaborations with artists. Emerging and established creators alike are invited to develop new work together with young people, audiences, and other partners. This extended hand continues to reach out with the recurring open call Carte Blanche.

A striking new chapter begins in 2023, when Ballet Dommage and compagnie barbarie are welcomed as in-house companies at BRONKS for a four-year period (2023–2027). BRONKS supports them on a practical, organisational, and financial level. This gives them a break from the unpredictability of project-based funding and allows them to fully focus on their artistic practice.

In 2025, the new co-creative performing arts festival Volt FESTIVAL launches in Antwerp. In 2026, the second edition took place at BRONKS in Brussels.T he festival brings together young talent and experienced makers, as well as three major Flemish youth theatres – BRONKS, hetpaleis, and KOPERGIETERY.

To this day, BRONKS continues to deliver pioneering youth theatre – deeply rooted in the Flemish performing arts landscape and flourishing internationally.