Face Z returns with Face V, the 21st edition celebrating two decades of adventurous music. The festival gathers experimental artists, hybrid forms and reworked popular practices, placing local, Swiss and international scenes on equal footing. Emerging talents share the bill with seminal figures around radical, inclusive and contemporary aesthetics. Expect immersive sound worlds, playful subversions of genre and communal dance moments that open ears and bodies to new rhythmic possibilities.
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.
Created and performed by Igor Mamlenkov and directed by Kostya Novitskiy, Kto Tam? is a 60-minute non-verbal visual tragicomedy that explores exile, memory, loneliness and resilience. Through precise movement, object manipulation and evocative shadow play, Mamlenkov animates forgotten belongings into companions, transforming absence into tender, absurd and deeply human encounters. Drawing on Slavic physical theatre traditions, the piece uses gesture and poetic imagery to build a universal, wordless journey into the heart of solitude.
Centred on Sami Bernath’s embodied memories, this performance mixes Swiss popular songs, rhythmic gestures and the traditional Löffelä spoon percussion to transform everyday motions into sound. Through repetition, deformation and rhythmic saturation, familiar motifs become permeable, revealing buried and repressed memories beneath the Swiss mountains. The staging is intimate and ritualistic, alternating fragile vocal fragments and percussive textures to probe memory and collective inheritance.
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.
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.
Led by percussionist and conductor Fábio Pascoal, Hermeto’s Mothership reunites musicians who accompanied Hermeto Pascoal for decades to perform a repertoire entirely of his compositions. Featuring André Marques (piano), Ajurinã Zwarg (drums), P Jota (saxophone, flute) and Itiberê Zwarg (bass, vocals), the ensemble blends meticulous composition with collective improvisation and bold timbral exploration rooted in Hermeto’s Música Universal. The concert shifts between dense, intricate textures and spontaneous grooves, inviting attentive listening that feels both intimate and expansive.
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