Stand-up and character comedy by Julien Bing, Toute la vérité, rien que la vérité, ou presque. He navigates uncomfortable truths, elusive nuance and the “instagrammable” image, blending observational monologue and playful personas. The show probes contemporary paradoxes with a smartly awkward delivery, alternating sharp satire and human vulnerability. Intimate and theatrical, it invites reflection through laughter while sketching a portrait of our image-driven age.
In French.
Noir & Gerber blend warm, intimate soul and blues with original songs in French and English. Vocalists Sophie Noir (voice, bass, piano) and Simon Gerber (voice, guitar, bass) trade melodies and harmonies over driving grooves from drummer Claude Kamber (or Alberto Malo), creating close interplay between voice and instrument. Their repertoire moves from smoky soul to rhythm’n’blues, combining delicate arrangements, raw emotion and playful improvisation that highlight songwriting and spirited live dynamics.
Choreographed by Valeska Romero Curiqueo, Pewma (Mapudungun for “dream”) weaves dance, performance, live sound and poetry to trace transmissions between bodies. The piece confronts peripheral, wounded and violently marked identities through ritualized gestures and sensual collisions, invoking Venus as a figure of omen, destruction and rebirth. Live violin, synthesizers and vocals shape a tense, luminous soundscape as bodies dissolve and reconstitute, staging desire, friction and collective memory.
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.
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.
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.
Amandine Casadamont and Madeleine Leclair present a live sound creation using vinyl records drawn from their distinct yet resonant collections. The performance weaves musical traditions of the Tout-monde with experimental, concrete and ambient practices, exploring texture, repetition and montage. Intimate and attentive, the set focuses on listening as a shared sculpted experience, moving between ritual echoes and electronic abstraction through delicate turntable gestures and live manipulation.
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