“We Are The Champions,” a captivating conference-performance by Pierre-Do Bourgknecht, delves into the intimate connection between sports and music. Joined by Sébastien Breguet on the cello, Bourgknecht shares engaging stories and iconic moments that highlight this link. Playful and interactive, the show demonstrates how talent, technique, and endurance bridge these worlds. Exercising to music enhances enjoyment and performance while lowering perceived exertion.
In French.
At La Parfumerie, “VERTIGES” by Catherine Tinivella Aeschimann takes us to the base of the Eiger’s north face, where five tourists follow the climb of mountaineer Ueli Steck. Turning simple observation into an intense immersion, they experience the emotions of Steck and his partner. This piece, a blend of sports commentary and alpine storytelling, delves into our connection with achievement and performance, while also recalling the ghosts of the Eiger’s victims. Directed by Tamara Fischer, this show offers a communal and introspective experience.
In French.
“Les Trois Soeurs à Trois” by Collectif BPM at Maison Saint-Gervais presents an inventive reinterpretation of Chekhov’s play. Artists Catherine Büchi, Léa Pohlhammer, and Pierre Mifsud transform this classic by portraying journalists recording a radio show. They narrate the real or imagined stories of different productions of the play, while sharing personal and family anecdotes, providing a humorous and sharp reflection on their own dreams and illusions.
In French.
Choreographed by Ana Pi, Atomic Joy is a visceral dance piece that transforms joy into an act of resistance. Drawing on Grand Paris street dances and afrodiasporic legacies, Ana Pi brings together eight performers in a physically incandescent ensemble where groove, tension and jubilation collide. Between political manifesto and sensory ritual, the work explores resilience, collective renewal and the raw energy of bodies in motion. Produced in collaboration with Festival Antigel and the Ville de Vernier cultural service.
Choreographer Ugo Dehaes replaces his human troupe with extravagant robot-dancers endowed with an artificial intelligence that invents their own choreography. Intimate and unsettling, the performance invites the audience to sit around a table as the mechanised performers execute an uncanny, rhythmic ballet. Marie Peeters’ dramaturgy frames questions about labour, profit and the place of culture, while Wannes Deneer’s scenography and musical composition shape a tactile, immersive atmosphere. The piece blends humour, critique and physical precision.
In early January 2022, two construction vehicles belonging to a Swiss multinational were set on fire at a gravel pit in the Geneva countryside. Over a year later, a young man — referred to as Jérémy — was arrested and suspected of involvement in the arson. Held in pre-trial detention, he was released after more than three months, following strong public support and mobilization.
Winter of Caecilia gathers seven local theatre productions that revisit contemporary and classic forms through monologue and solo performance. Artists such as Nastassja Tanner, Ahmed Belbachir, Roland Vouilloz and Vincent Jacquet offer intimate, visceral interpretations, while texts by playwrights like Fabrice Melquiot are brought to life under directors including Jean‑Yves Ruf. The programme mixes poetic, comic and physically charged pieces that privilege sensory staging and emotional immediacy, inviting audiences into distinct, singular theatrical universes.
In French.
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