Aurelie Di Marino (b. 1986) is a theatre maker and director. She studied literary studies at KU Leuven and obtained her Master’s degree in directing from RITCS in 2013. In her work, she moves between theatre, performance and research, developing a distinct artistic trajectory, both individually and within long-term collaborations and collectives.
Di Marino has collaborated with a wide range of artists and creators, including Milo Rau (Civil Wars, KFDA 2015), Manu Riche, Els Dietvorst, Oxana Sankova, Tine Van Aerschot and Tom Dupont. She has appeared on stage and in exhibition contexts as both a performer and a creator, and has been involved in productions at venues such as Kaaitheater, Antigone, Beursschouwburg, Theater Arsenaal, Detheatermaker and Buda.
Her artistic practice is characterised by a strong interest in ideology, power, ethics and collective myths. In her State of the Youth (Het Theaterfestival, 2016), she advocated for challenging collaborations and for translating complex social and historical issues into accessible, popular forms of theatre.
Di Marino has worked collectively with, amongst others, De Warme Winkel on Jandergrouwnd (selected for the Dutch Theatre Festival) and with Bookers & Hookers on a series of literary and performative projects. From 2013 to 2022, she was one of the core members of K.A.K. (Koekelbergse Alliantie van Knutselaars), a collective that conducted research into self-organisation, community and artistic autonomy through artistic occupations of public and abandoned spaces in Belgium and internationally.
Alongside her artistic work, Di Marino is deeply committed to educational initiatives. Since 2017, she has been coaching and directing young people within TransfoCollect, a platform where young people from diverse subcultures come together through theatre and performance in an experimental and emancipatory practice.
As a director, her work includes If There Weren’t Any Blacks You’d Have to Invent Them (based on Johnny Speight), selected for Het Theaterfestival, Cerebriraptor and Race by David Mamet. Since 2022, she has been working on Malgré Tout, a multi-year chronicle of Western ‘civilisation’, which premiered in Brussels in June 2025.
Renée Goethijn (b. 1987, BE, she/her) studied creative arts at the Ritcs School of Arts in Brussels. There, she explores the boundaries between theatre and the visual arts. She creates visual, absurd performances, in which the scenography often forms the core of the piece. In this way, she creates bizarre parallel realities that expose the principles and mechanisms that govern and determine our social reality.
Since graduating, Renée’s artistic work has consisted of an ongoing interplay between an individual artistic journey, collective practices and other collaborative ventures.
Even during her studies, her own short works were programmed at various festivals: Dark Tourism (2011) was performed at the Cultuurmarkt in Antwerp, among other venues, and she presented Kier (2012) at the Kipfestival in Ghent. Her triptych To get properly confused you have to put your head underwater / UFOs / Two things to do and two more things to do was selected for TAZ Jong Werk (2013).
After graduating, she was offered a one-year residency at Kunstencentrum nona as part of a programme for emerging artists. There, she collaborated on Katja Dreyer’s Kroniek (2013) and concluded with her own creation, Reconstruction of the day I left (2014). In 2013, she was also a guest performer and creator at Bookers&Hookers.
Together with a number of other former Ritcs students, she founded K.A.K. in 2014, a horizontal association of sixteen theatre makers, tinkerers, thinkers and other mavericks, in search of alternative forms of creation, presentation and collectivity. K.A.K. created performances, one-off theatrical events, sessions and gatherings. With K.A.K., she has created, among others, Office de Tourisme / Agence de Voyage (2016), Life, Death and Television (2018), Snøw (2019), The Unheard (2020),…
At KWP, she co-directed No Use For Binoculars (2015, co-production: Monty, C-mine) and Totally (2017, co-production: Monty, C-mine, detheatermaker). She also created MANNAHATTA (2022, co-production: Viernulvier & LOD Muziektheater, C-takt, Antigone and de Grote Post) and 4 Women Getting Sick (2025 – co-production: Kaaitheater, Viernulvier, Antigone, C-takt/Beyond the black box).
In addition, she regularly works as a (final) director on commission for various companies and venues. With Compagnie Barbarie and Theater Stap, she created the production Mise en Place at HetPaleis, Bronks and Kopergietery (2021), she directed and co-wrote Wezen by Maxime Waladi at Fabuleus and Action Zoo Humain (2023) and worked as a coach on Jackie by Lien Wildemeersch at Theater Malpertuis (2023).
She also served as associate director on Studio Sheherazade by Haider Al Timimi and Gorges Ocloo (2018), What The God by Anouk Friedli and Guus Diepenmaat (2021), Voorjaarsontwaken by Wolf Wolf (2022), Spindle by Oona Libens (2022), De Puberfluisteraar and Jeanne by Sanderijn Helsen & De Studio (2023–2025), Piéton by Kenneth Berth / Het nieuwstedelijk & De Spil (2024), Residu by Menzo Kircz and Eleonore Van Godtsenhoven (2024), Oh Deer by Gina Beuk & Bronks (2024), Wavelength by Haider Al Timimi and Lucius Romeo-Fromm & Antigone (2026).
She is also creating the participatory performance Soep Opera in collaboration with Katinka de Jonge (2022) as part of Openbare Werken in Viernulvier.
Renée is also active within Kloppend Hert, where she is one of the permanent mentors of the artistic platform Jong Gewei, and works as a lecturer and head of department on the drama course at the RITCS.
