Conceived by choreographer Michèle Anne De Mey and filmmaker Jaco Van Dormael, Kiss & Cry stages a miniature film set where a cast animates objects, tabletop décors and memories to weave five love stories about Gisèle. The piece blends dance, puppet-like hand choreography and live filmmaking into a poetic, inventive performance that favors intimacy, tactile staging and cinematic surprise. The result is tender, wry and sensorial, inviting close attention to gesture and memory.
In French.
Improoo is a festival of long-form improvisation that lets stories breathe and unfold in real time. Performances range from half-hour episodes to hour-long narratives and beyond, driven by a tight ensemble of improvisers who build sustained dramatic arcs, shifting tones and unexpected emotional turns. The creative approach privileges listening, risk and theatrical economy, offering immersive, spontaneous storytelling rooted in theatrical craft and collective play.
In French.
Four performers embody testimonies from different generations in Sept, situated at the crossroads of dance and film. Between intimate confidences and tender tableaux, the piece examines how age shapes us and stages a delicate exploration of what growing older means, revealing a shared humanity. The staging shifts between projected images and live bodies, weaving visual and physical layers to create an experience that is both poetic and unsettling.
Le dîner de cons is a sharp, character-driven comedy that exposes social hypocrisy through absurd situations and incisive dialogue. This staging explores timing, comic rhythm and human vulnerability, using restrained sets and dynamic ensemble acting to amplify the play’s wit and emotional undercurrent. Audiences can expect physical comedy, precise timing and moments of surprising tenderness that reveal deeper reflections on pride and compassion.
In French.
Created and performed by Elina Kulikova and Dima Efremov, TRILOGIE DE LA GUERRE interweaves three musical-performance pieces responding to exile, the war in Ukraine and repression in Russia. Kulikova’s chapters evoke classical and folk song, transforming lament into a ritualised, sensory mourning; Efremov’s contribution uses sound art and electro textures to shift perspective and map clandestine networks of resistance. Together the trilogy forms a compact dramaturgy of intimacy, unease and fragile hope, immersive and politically charged.
Directed by Marie-José Malis, Retour au pays revisits Hugo von Hofmannsthal’s letters through a spare, lucid staging. Performers Alexandra Tiedemann and Juan Crespillo inhabit the returning merchant’s disorientation, while Aurélia Ansermet provides live music and sound. Bernard Héritier’s scenography and Jessy Ducatillon’s lighting shape moments of visual surprise, most poignantly a Van Gogh encounter that restores belief in the world. The piece refuses facile answers, offering theatrical lucidity and an austere emotional clarity.
In French.
La P’tite Fumée returns with an explosive live set that fuses psytrance energy and cyberpunk atmospheres. Their electro-acoustic palette blends didgeridoo with hypnotic guitar and flute lines over driving rhythms. New vocal elements join the band’s signature instrumental textures, adding sharp flows and communal hooks. The reworked live show emphasizes visceral dynamics, dense sound layers and raw intensity, offering a powerful, immersive concert experience that bridges tradition and modern electronic experimentation.
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