"Contrary to popular belief, the Poles, Belgians join winding path of history - except that Belgium was a plaything in the hands of big powers, not by decades but for centuries, passing through the hands of the French, German, Spanish, Austrian and Dutch. Sovereign Belgium is the result of the revolution in 1830, where the outbreak occurred on August 25 in. .. theater. Dutch revolt against the sovereignty provoked because moving, patriotic presentation of "La Muette de Portici," which the audience, after leaving the Brussels opera house riots started. With today\'s southern province of the Netherlands was the country consisting of two major provinces of Flanders and strongly associated with French culture Wallonia. Flanders is the northern province of Belgium, alongside Wallonia and Brussels-Capital Region one of the three autonomous regions of the country.

Luc van Dries the Flemish Theatre Institute is not demonize "the night of the Opera" as a source of strength in Flanders theater scene. For a simple reason: "La Muette de Portici" was performed in French art. In a country where there are three language communities (Flemish, French and German), but 60 percent of the population speaks Flemish, only half of the twentieth century began to break the dominance of French. The first theater, which staged the Flemish art, was founded in 1945, but only since 1967 we can speak about the creation of conditions for the existence of a separate Flemish scene.

- There is no such thing as a Belgian identity - authoritatively says Luc van Dries. - When in the Walloon part of the theater is increasingly turned into a museum of art in Flanders, the process of decentralization, even in art. With the development of cities such as Antwerp, Brussels and Bruges, they began to be formed a small but vibrant art centers, which were placed in the art world\'s most inspiring artists in the world. You can talk about four waves: the theater beckiettowskiego, through the influence of artists such as Jerzy Grotowski and Tadeusz Kantor (later confirmed this view in an interview a prominent director Jan Fabre - editor. Kosta), the political theater of the 70s and 80 until the postmodern ferment of the 80s This was a consequence of meetings with artists such as Peter Brook and Tadeusz Kantor, the Living Theater, Robert Wilson and Pina Bausch - Dries Van believes. "