In this third week of the festival, classics of the performing arts are transformed to create a new mythology that speaks of today's world. On stage, a new aesthetic emerges, one that tells compelling and more contemporary stories than ever before.

At the heart of Trajal Harrell's new work is one of the most famous characters in modern theatre: Maggie The Cat. Troubled, unstoppable and tough central character in Tennessee Williams' 'Cat on a Hot Tin Roof' (1953), the character inspired the choreographer to create an adapted piece in which minor characters of the work find a centrality previously unknown.

Where do you go back to when you don't have a home? Founded in 2015 following outbreaks of violence in São Paulo's so-called homeless shelters, the MEXA collective presents Pumpitopera Transatlantica in club C12. Through texts and songs inspired by Homer's 'Odyssey', their personal stories and pop music from the 1980s and 1990s, the members of the collective revisit the famous poem about Odysseus' long journey home. An exhilarating show that takes us on a journey between theatre and party.

In Thank You Very Much, Claire Cunningham uses her long-standing passion for Elvis to challenge the myth of what bodies should look like within the codes of rock'n'roll. The famous Scottish choreographer, a self-identifying disabled artist, lifts the curtain on the glittering, mysterious world of 'tribute artists'. Who have we been trying to be all our lives? Has it ever been our choice?

Ten years ago, Wichaya Artamat presented a first version of Baan Cult, Muang Cult adapted from the play 'Wunschkonzert' (1971) by Franz Xaver Kroetz and inspired by the film 'Jeanne Dielman, 23, quai du commerce, 1080 Bruxelles' (1975) by Belgian director Chantal Akerman. Today, the director is a key figure on the Thai theatre scene and presents, for the first time, a new version of the play in which the everyday becomes political in itself.