Belgian choreographer and director Wim Vandekeybus studied psychology before moving into performance art, and this clearly informed his work.

What The Body Does Not Remember was as much a series of theatrical compositions as contemporary dance, with the exquisite powerplay between individuals, couples, friends and lovers under the microscope.

It may not have been comfortable, but questioning our existence and our responses to situations is crucial. Raw, primal physical performances like this allow us to accept the presence of such questions.

The Sisyphean task of modern life, in which boundaries were constantly invaded, dominance questioned, order quickly became chaos and vice versa were examined here.

A man banged a table loudly, scraping his hands on its surface as two dancers jerked and writhed on the stage, seemingly under his power. Clouds of dust and chalk whirled in the air as the nine-strong troupe leapt and ran about, hurling breeze blocks across the stage and catching them at the last minute. Jackets and towels were twisted and chucked about, put on or folded and then deftly stolen.

In one scene a man repeatedly tried to get (un)comfortable on a chair which lay on its side on the floor while the others formed uneasy ‘family photograph’ style poses, beautifully – and humorously – poking fun at notions of belonging and social structure.

Brilliantly adventurous and inventive.