Liesbeth's research focuses on relationships between dramaturgy and scenography, spatial theory, performance ecologies and new materialism, and performance philosophy. These interests also led to the publication of Nomadic Theatre: Mobilizing Theory and Practice on the European Stage (Bloomsbury 2019). In this book, following from her PhD dissertation (cum laude), she studies developments in contemporary performance that center around movement and mobility of performers, spectators and spaces. Fluid stages, morphing theatre spaces, ambulant spectators, and occasionally disappearing performers: these are some of the key ingredients of nomadic theatre. They are also theatre's response to life in the 21st century, which is increasingly marked by the mobility of people, information, technologies and services. While examining how contemporary theatre exposes and queries this mobile turn in society, Liesbeth introduces the concept of nomadic theatre as a vital tool for analyzing how movement and mobility affect and implicate the theatre, how this makes way for local operations and lived spaces, and how physical movements are stepping stones for theorizing mobility at large. The book focuses on ambulatory performances and performative installations, asking how they stage movement and in turn mobilize the stage. By analyzing the work of leading European artists such as Rimini Protokoll, Dries Verhoeven, Ontroerend Goed, and Signa, Nomadic Theatre demonstrates that mobile performances radically rethink the conditions of the stage and alter our understanding of spectatorship. Nomadic Theatre instigates connections across disciplinary fields and feeds dramaturgical analysis with insights derived from media theory, urban philosophy, cartography, architecture, and game studies. It illustrates how theatre, as a material form of thought, creatively and critically engages with mobile existence both on the stage and in society.

In her current research, Liesbeth continues this interdisciplinary approach, exploring how theatre, as a material form of thought, may contribute to the current wider interest in new materialism in the humanities, and how this could fuel the idea of performances as profound ecological systems that invite us to explore deep time, cyclic processes and the intense connections between people, places and things - between humans, objects and environments.