Directed by Jean Bellorini, this theatrical adaptation of Victor Hugo’s L’Homme qui rit returns to the novel’s haunting tale of a young English lord abducted and disfigured. The staging blends narrative theatre with a chorus of actors, trestles, mechanical effects, music and song to probe themes of identity, spectacle and deceptive appearances. Striking visual tableaux and intimate storytelling invite reflection on beauty, cruelty and the theatre’s power to transform.
In French.
Coordinated by Stan Breynaert, this evening presents two PrePro student projects by Esteban and Gabriel, each revealing distinct musical universes. The performances foreground intimate songwriting, experimental textures and collaborative staging, framed by feedback from external experts. The creative process is visible on stage: tentative gestures, bold sonic choices and moments of quiet intensity that invite close listening and reflection, offering a snapshot of emerging artists at a formative moment.
Chronicle of a fleeting liaison, this intimate theatrical piece examines the fragile architecture of desire and memory. Through concentrated scenes, the company maps the emotional aftershocks of a brief relationship, shifting between candid dialogue and charged silences. Lighting and sparse staging heighten moments of intimacy, while an attentive ensemble navigates tonal shifts from tenderness to unease. The production favors close observation and emotional clarity, inviting reflection on attachment and the traces left behind.
In French.
Directed by Jérôme Bel, this collectively created theatre piece is written and performed by children aged 8 to 14. The work unfolds through improvisation, playful imagination and a celebration of creative freedom, inviting an immediate, joyful stage presence. The ensemble’s spontaneous scenes and open-ended dramaturgy emphasize collaboration and risk, offering spectators an intimate encounter with youthful authorship and theatrical experiment.
In French.
A darkly comic solo play about obsession and domestic chaos. When Michel finds a rare record he has long sought, he prepares a perfect hour to listen — but family, neighbours and a drip that will wreck the disc steadily intrude. The piece skewers selfishness with sharp humour and precise staging, combining intimate realism and heightened farce to probe human smallness and the desperate desire for solitude.
In French.
Two short plays by Anton Chekhov staged by Tibor Ockenfels and Flavie Tapparel, presented as compact dramatic machines where romantic comedy masks escalating confrontations between desire, affection and material interest. Performances rely on precise physical timing, terse exchanges and a lean, playful design to reveal the simmering violence behind courtship rituals. The three actors — Estelle Bridet, Matteo Prandi and Raphaël Vachoux — inhabit heightened character types that shift between farce and darker comic truth, creating a sharply observed, kinetic evening.
In French.
Directed by Françoise Courvoisier, this production of Anton Chekhov’s Oncle Vania — translated by Arthur Adamov — assembles a committed ensemble (Vincent Bonillo, Pierre Dubey, Bérangère Mastrangelo, Patricia Mollet-Mercier, Clarisse Morizot, Pierre Omer, Juliana Samarine, Edmond Vuilloud) to explore love, the passage of time and illusions lost. The staging, created with scenographer Gilbert Maire and painter André Kasper, uses Rinaldo Del Boca’s lighting, Pierre Omer’s music and Nicolas Le Roy’s sound to evoke both the comedy and the terrifying humanity of Chekhov.
In French.
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