In exploring the relationship between popular culture and (postdramatic) theatre, the amount of formal traces of popular culture in contemporary performances is striking. Think of the dance performances by Hush Hush Hush in the Nineties, incorporating spectacular break dance battles, electric boogie, hip-hop dance styles like b-boying, popping and locking, and other elements of popular street culture. Think of the references to Barbie dolls in Jan Fabre's As Long As the World Needs a Warrior's

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... oul (2000) (Stalpaert 2005) and of Wayn Traub's imitation of Michael Jackson's moonwalk in Beasts (1999). For his Orgy of Tolerance (2010), Fabre chose the revue, the popular leisure time activity in the first quarter of the twentieth century, as a format. In SOAP (2006), the young Ghent collective Ontroerend Goed copied the formal structuring device of popular television series and had popular Flemish TV-stars act 'soapwise' in a series of episode-performances on stage. Each episode began with a recognizable tune, a live 'what-happened-before'-summary and ended with a typical 'cliffhanger' .