Directed by Bastien Blanchard and Olivier Kessi of the Frei Körper Kompanie, this reworking of Molière’s classic blends theatre and live music to place L’École des femmes in contemporary society. Arnolphe’s attempt to keep Agnès in ignorance collides with the comic absurdity of her guardians and the disruptive arrival of Horace. The staging highlights power, fear and the mechanisms that confine women through physical performance and evocative musical textures.
In French.
Created by Manon Bril and Etienne Lautrette and directed by Théo Comby Lemaitre, this hybrid lecture-performance blends scholarly rigour with theatrical wit. Historian Manon Bril guides the audience through surprising episodes of human history, overturning assumptions with a sharp, offbeat humour and playful staging. The show mixes clear popular-science explanation, theatrical images and comic timing to reveal that nothing has “always been like this”.
In French.
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.
String quartet Quatuor Aviv presents an intimate programme featuring Anna Göckel and Brandon Garbot on violins, Noémie Bialobroda on viola and Daniel Mitnitsky on cello. The programme juxtaposes Haydn’s lively Quartet in C major, Op. 54 No. 2 with Alban Berg’s intense, expressionist String Quartet Op. 3 and Mendelssohn’s radiant Quartet in D major, Op. 44 No. 1. Refined ensemble playing, precise articulation and warm sonorities invite close listening and emotional contrast.
Emergentia 2027 brings together the next generation of choreographers from Geneva and beyond in a two‑week festival of new performance and research. Conceived and produced by three Geneva organizations, the program juxtaposes site-specific creations, international residencies, open studios revealing works-in-progress, and embodied workshops and conversations. Performances feature artists such as Isam Abad Montalvo, Sami Lea Samira Bernath, Oscar M. Damianaki, Efthimios Moschopoulos and Soraya Leila Emery, alongside collaborative projects and emerging voices.
With PavillonADC & TU-Théâtre de L’Usine.
Directed by Eléonore Bonah and staged by scenographer Maria Clara Castioni, CHRÜSIMÜSI transforms Adelheid Duvanel’s terse, poetic fragments into a multilingual theatrical tapestry. Performers Eléonore Bonah and Maria Clara Castioni inhabit hypersensitive, marginal characters whose everyday gestures oscillate between absurdity and tenderness. Sparse staging and a careful interplay of voice and silence highlight Duvanel’s Kafkaesque intimacy, while language shifts (French, German, Italian) create a fragile, dreamlike atmosphere that balances humour and quiet despair, celebrating stubborn acts of resistance.
Told as a solo performance, this piece follows a woman as she remembers the films that shaped her life and blurs the line between cinema and memory. Through references to science-fiction sagas and cinematic archetypes — the woman-soldier, the survivor, the reluctant mother — the show probes identity, fear of change and the ways stories migrate from screen to skin. Sparse staging and intimate narration create a haunting, introspective atmosphere.
In French.
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