“The Selfie Concert” by Ivo Dimchev at Maison Saint-Gervais is an interactive performance where the artist sings only when spectators take a selfie with him. This concept challenges the notions of narcissism and the interdependence between stars and fans, raising questions about perception and existence. The show highlights our mutual need for both the artist and audience to bring the event to life.
Théophile Alexandre blends voice and movement in a stripped-back, vibrant baroque creation that fuses early music with contemporary dance. As singer and dancer he delivers a powerful, singular performance, shaped by Jean-Claude Gallotta’s choreography and Guillaume Vincent’s piano. Twenty-one finely honed pieces unfold like the 21 grams of the soul, where music becomes flesh and gesture turns into melody. Between well-known masterpieces and forgotten treasures, the production offers an intimate, organic journey through human emotions, delicate and intense.
Club Amour presents three pieces by the Ensemble Tanztheater Wuppertal Pina Bausch and guest dancers, conceived by Pina Bausch and Boris Charmatz: Café Müller (1978) and two works by Charmatz, Aatt enen tionon (1996) and herses, duo (excerpt 1997). The programme probes desire, proximity and withdrawal between bodies, mixing contrasting aesthetics and music from PJ Harvey to Purcell. For some pieces the audience is placed on stage, creating an intimate, immersive encounter.
Nicolas Fayol performs a striking solo that confines the body to a 1.5‑metre landscape, exploring what a man becomes when he can no longer stand. Through contortions, breaths and improvised encounters between hands and feet, he invents new physical vocabularies that blend acrobatics, yoga and hip‑hop. Bathed in precise lighting and accompanied live by the duo Mont Analogue, the piece shifts between animal, child and prehistoric forms, offering a tactile, intimate meditation on human posture and transformation.
The company Chantal et Bernadette explores, with both naïveté and documentary precision, the foundations and challenges of the education system through the story of Kévin, who feels let down by it. By merging scientific inquiry with theatrical expression, they engage the audience’s critical thinking. This production is a collaborative creation by Arnaud Hoedt, Jérôme Piron, Antoine Defoort, and Clément Thirion, developed in close partnership with researchers, with special attention to set design and technical aspects.
In French.
Choreographer Chiara Bersani invites the audience into the undergrowth of an imagined forest, performed in duo with dancer Elena Sgarbossa and a group of workshop participants. The piece stages bodies limited by disability to probe movement, survival and collective care. Inspired by confinement and the inequalities revealed by the pandemic, it turns the stage into an ecosystem — a vibrating floor, layered soundscape and a shared spatial attention — where small gestures, bodily memory and vulnerability become transformative forces and the basis for a newly imagined community.
Adapted and performed by Felipe Castro, this solo staging probes the absurdity of war, murderous nationalism and the raw misery at the heart of Céline’s writing. Coach José Lillo supports a performance of muscular, visceral language while Natacha Jaquerod’s set, Rinaldo Del Boca’s lighting and Jean Faravel’s sound sculpt stark, claustrophobic atmospheres. The production balances brutal imagery with moments of surprising humanity, revealing the author’s vocation as a doctor through an intimate, relentless theatrical journey.
In French.
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