Choreographed by María del Mar Suárez (La Chachi), this hybrid flamenco pieces tradition and punk sensibility into a raw, personal language. On stage two musicians and a singer shape a live soundscape that frames La Chachi’s emergence: a dim light reveals her silhouette as she advances and begins an ascension. Her motions coil and break in looping cycles as the music intensifies. Visceral and hypnotic, the performance immerses spectators in concentrated rhythms and fierce corporeal poetry.
Directed by Nathalie Cuenet and written by Valérie Poirier, Dire adieu is performed by Compagnie Volodia. The piece stages fragmented conversations between a daughter and her mother, probing a quest for recognition and the fragile possibility of reconciliation. Its form recalls the codes of Greek tragedy, using heightened language and concentrated staging to explore memory, silence and unresolved grief. The ensemble creates a tense, intimate atmosphere that makes emotional rupture palpable.
In French.
Festival d’automne presents a programme of intimate organ and ensemble concerts exploring timbre, ritual and storytelling. Highlights include the electro-acoustic duo “Tuyaux et ondes” with Jacques Tchamkerten (ondes Martenot) and Vincent Thévenaz (organ), a narrated Mexican legend featuring Zeltzin Pérez and Diego Galicia Suárez, and a musical portrait celebrating Lionel Rogg with Anne Page, David Titterington, Alessio Corti and the choir Cantus Laetus led by Natacha Casagrande. The series favours reflective atmospheres and virtuosic instrumental colour.
Written by Stéphane Bouquet, Six heures plus tard is an intimate stage performance for two performers that explores the fragile bonds between a man and a woman through poetic text, live-filmed images, spare lighting and pared-down stage presence. The piece treats silence as a shared, collective resource and recomposes itself according to each venue’s architecture and the state of the bodies, creating an unusual proximity and contemplative atmosphere.
In French.
For his final production as a theatre director, Jean Liermier revisits Tennessee Williams’s autobiographical classic about memory, longing and family. Set in the 1930s American South, the staging gathers a company around Laura, here embodied by Aurélia Thierrée, with Cyprien Colombo, David Gobet and Clotilde Mollet completing the ensemble. Liermier’s direction emphasises fragile interiors and poetic movement, offering a liberating, weightless atmosphere that balances tenderness and uneasy nostalgia.
In French.
Myriam Baroukh dismantles the checklist of modern life — exams, steady jobs, marriage, children, mortgages — to ask what remains once the boxes are ticked. With sharp, intimate stand-up, she navigates happiness, antidepressants, a difficult birth, artificial intelligence, urban wildlife and the strain of care and exile. Her voice mixes wry observation and emotional honesty, turning personal setbacks into wry, human comedy. Her rapid-fire anecdotes and unexpected images keep the audience off-balance, exploring empathy and absurdity.
In French.
Nos voisins artificiels stages a tense, intimate theatrical exploration of human relationships in the age of technology. A focused ensemble navigates shifting boundaries between empathy and estrangement through precise physicality, fragmented dialogue and luminous stagecraft. The piece blends dark humour with moments of quiet vulnerability, relying on carefully designed lighting and minimalist sets to heighten emotional textures. Audience members are invited to witness ambiguous intimacy and the uncanny rhythms of contemporary coexistence.
In French.
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