Born in Belgium in 1982, Aurélie Lannoy takes up her theatrical education at the Institute of Diffusive Arts (IAD) in Louvain-la-Neuve. She continues her studies at the Kleine Academie in Brussels adopting movement and creation as her pedagogical fundaments. In the years after that, she also takes up courses at the Susan Batson Studio in New York following the Actor Studio method.

Shortly after graduating, Aurélie meets and joins Ontroerend Goed, a Ghentian company that explores new theatrical forms. Their artistic affinity is clear from the start. Aurélie works with them regularly as an actress, creator and performer and gets the chance to play internationally and receive awards at several occasions, among which the Festivals of Adelaide and Edinburgh.

Alongside her work in Ontroerend Goed, Aurélie joins other groups, notably the Divins Animaux Company in Paris for the project Flirt and the music/spectacle group Les Vedettes.

On the silver screen, Aurélie plays the lead character in Inacia of Charlotte Dupont, Lucha Libre of Ann Sirot and Raphael Balboni and in the video clip Koko of Nicola Testa and Martin Landmeters. She also works with Anne-Cécile Vandalem (Das Fräulein Kompanie) on the video installation Still Too Sad to Tell You.

From 2016 onwards, Aurélie feels a strong need to express her own artistic identity. She decides to give herself the time to explore and experiment with the possibilities and the limits of a profound and authentical relation between an actor and an audience.

In the summer of 2016 and with the support of Area 42 in Brussels, Aurélie creates a first performance that marks the beginning of her artistic journey as a solo artist: Silent Screen, a work that questions our relation to the ‘minute of silence’.

To continue her research in the best conditions, Aurélie receives the support of Cultuurcentrum De Grote Post in Ostend, Vooruit in Ghent and CC Berchem in Antwerp, where she will take up a residency in the Season 2017-2018.

contact : contact@aurelielannoy.be


The Smile Off Your Face - Ontroerend Goed

…As an essay in intimacy, human warmth and real emotional attention – and a reflection on the shocking lack of it, in many busy modern lives. ‘The Smile off Your Face’ is an unforgettable experience.
The Scotsman – Joyce Mc Millan ****

…A disorientating but extraordinary performance (…) It leaves you feeling fantastic.
The Times – Donald Hutera ****

…Last year in Edinburgh I argued that the hit show ‘The Smile Off Your Face’ wouldn’t bear a repeat viewing… Well, I was wrong. I find something ineffably sad about the way that it encourages intimacy and yet ultimately shows intimacy to be an illusion, but this is a genuinely beguiling piece of theater.
The Guardian – Lyn Gardner

Internal - Ontroerend Goed

…What’s remarkable about this 25-minute experience is the extent to which it seems to make people both think and feel… So is it true that real relationships are becoming too difficult for us? Are we such a bunch of sad cases that we need to buy a theatre ticket to get a date? Or have we just forgotten, in our earnest quest for autonomy and self-sufficiency, how to make that first move towards something that notoriously brings pain and need as well as joy and fulfilment? Ontroerend Goed’s performance never pretends to answer these questions, but it certainly raises them, more powerful than any theatre experience I can remember.
The Scotsman – Joyce Mc Millan *****

A Game of You - Ontroerend Goed

…Mirror mirror on the wall… in the dim light, the reflection of the other throws us back at our own image and the other way round, at a lively, troubling and playful pace… ‘A Game of You’ is one of those artistic crossings you’re not likely to forget soon
Libération – Gilles Renault

Sirens - Ontroerend Goed

…The language is lacerating, the performances bruising in their upfront intensity – and the effect is utterly exhilarating.
The Times – Sam Marlowe *****

…This experimental and unconventional performance was unflinching, brave, wild and brilliant. The humour was woven tight into the truisms that Sirens confronted, presenting a hilarious, painful and significant piece of theatre that sees modern women asking what feminism means. The title could not be more apt; from the modern day emergency sirens, which are a call to arms, signalling distress but also a rush of help and support, to the Sirens of Ancient Greece who seduce sailors with beautiful voices to shipwreck them – the screams of Ontroerend Goed confront the difficulties of navigating the turbulent waters of modern feminism in hopes of shipwrecking misogyny and providing a lifeboat for feminists, men and women alike. A triumphant and important piece, sing on Sirens.
On the Beat – Polly Hember

Fight Night - Ontroerend Goed

…‘Fight Night’ informs us about ourselves, the audience, rather than about the actors. How we, as individuals and as a group, judge, condemn, punish or tolerate.
De Standaard – Liv Laveyne ****

…‘Fight Night’ develops into a vital exploration (…) into why we cling to our democratic institutions despite their failures, and what the alternatives might look like; and how, in the end, we deal with dissent, in a big society or a small room where the majority have decided, but a large minority beg to disagree
The Scotsman – Joyce McMillan ****

…Without even a single political reference, Ontroerend Goed’s ‘Fight Night’ makes a precarious analysis of  the consensus politics our democratic system has fallen into. That’s impressive.
De Morgen – Evelyne Coussens ****

£¥€$ - Ontroerend Goed

…£¥€$ (Lies) isn’t just a clever historical and psychological analysis of the high finance world, it’s also smart, fast and incredibly exciting theatre.
De Morgen – Evelyne Coussens *****

…Ontroerend Goed builds the stock market suspense in an almost inconspicuous way
De Standaard – Filip Tielens ****

…It’s phenomenal how, in less than two hours, £¥€$ succeeds in providing an insight into a complex historical theme like the financialisation of the economy. This in itself is a masterstroke, but the psychological mindfuck lingers even more.
De Morgen – Evelyne Coussens *****

Flirt - Les Divins Animaux

…Quelle est la part d’être qui se cache en nous dans la séduction ? Plait-on par secret et retenue, ou par l’exubérance et le dévoilement de soi ? Faut-il franchir ce doux seuil où deux êtres s’imaginent beaux sans se connaître encore ? Questions redondantes, lancinantes, et sans réponses : Florian Pautasso nous lance la vie et son mystère ; la subjectivité humaine est un miroir complexe…

…Aurélie Lannoy, comédienne démesurée, fragile et cartoonesque, bouleverse le paysage beauté-canon, homogène et lisse de la troupe initiale. Dérangement crucial dans l’ordre du charme. Parce que dans Flirt, il s’agit bien de plaire…
Mouvement.net – Elie Salleron

Still Too Sad to Tell You - Anne-Cécile Vandalem

Ten screens invite you to an intimate experience where tears, as they are put on display, also beg to be collected.
An immersive installation made up of several portraits in order to question the anthropological and plastic dimensions of the topic at hand: the pleasure of tears and their representation.
Still Too Sad to Tell You is directly inspired by I Am Too Sad to Tell You by artist Bas Jan Ader.

Silent Screen

De minuut stilte is een vaakvoorkomend moment van stille observatie en een teken van eerbied en dankt zijn naam aan de duur, die traditioneel gezien een minuut is. Het is een vorm van civiele religie. De minuut stilte geeft gewicht aan evenementen, creëert een gevoel van eenheid.
Op 11 november 1922 was de eerste officiële minuut stilte : ter nagedachtenis van de Wapenstilstand.

En als we vrij zijn om de reden te kiezen voor onze minuut ? Voor wie of voor wat willen we dan even stilstaan ? Hebben we nood aan dat gemeenschappelijk moment voor onze stilste gedachten ? Hoe gedragen we ons dan ? Allemaal gelijk ? Waar denken we echt aan in een groep zwijgende mensen ? Aan het beeld van een klein jongetje uit Aleppo, dat gewond en verdwaasd in een ambulance zit ? Aan de duizenden bloemen en kaarsen op de Beurs in Brussel ? Aan de laatste tram die ons naar huis moet brengen ? Aan de vervelende vleug parfum van het meisje naast ons ? Aan het kind dat alleen bij de babysitter is ? Aan de kleur van de grond ?

60' (work in progress)

Voor 60′ hult Aurélie Lannoy zich, samen met haar publiek, in stilte. Zo gaat ze op zoek naar een zuivere en diepe connectie, zonder taal, maar met elkaar, door het (on)verwachte te verwelkomen.

‘Our new forms of life drives men out murderously from all inner contemplation as a forest fire drives wild animals from their hidden lairs.’ – Stefan Zweig