Choreographed by Patrick King and Johan King Silverhult, The Genesis gathers fifteen acrobats from thirteen countries in a visceral, apparatus-free circus that blends physical rigor and anthropological insight. The company constructs towering lifts, pyramids and human columns while powerful female bases support daring male flyers. Explosive jumps, flights and catches create breath-taking moments that probe community, solidarity and the dynamics of trust and risk. The work is a bold, emotionally charged celebration of collective strength and mutual dependence.

Between folk, rock and poetry, Souad Massi presents Zagate, a luminous album where the softness of her voice meets the world’s depth. The Franco‑Algerian singer channels anger and hope with touching sincerity; the new record is more electric, moving from warm rock to hypnotic afrobeat, Saharan folk to Parisian blues. Accompanied by Ralph Lavital (guitars), Guy Nsangué (bass), Martin Wangermée (drums) and Mokrane Aldani (violin, mandole), her performance extends themes of freedom and justice.

Nolwenn Le Doth delivers a striking solo text that confronts the painful subject of incest with rigour and humanity. On stage she navigates denial, shame and anger through a fragmented, puzzle-like dramaturgy that mixes courtroom exchanges, 1980s television sequences, childlike imagination and traumatic memories. The Arthurian combat metaphor threads the piece toward emancipation. Choreography by Thomas Guerry frames movement; Nicolas Maisse (sound), Juliette Besançon (lighting), Coline Galeazzi (costumes) and Claire Gringore (scenography) shape the production, accompanied by a women’s choir led by Tao Mousso.

In French.

Choreographed by Kader Attou, Le Murmure des Songes is a poetic hip‑hop dance piece for young audiences. Drawing on childhood memories, Attou stages a dreamlike bestiary where four performers move with grace and humour among chimera, plants and playful animals. The work blends contemporary and classical influences, favouring sensitive, intimate choreography over virtuosic display. It invites children and adults to reconnect with imagination and the tender games of early life.

Bounce and Stuck present a double evening exploring contemporary hip hop and clubbing aesthetics. Sons of Wind’s Bounce collective uses rebound as a guiding motif, reuniting music and hip hop dance in a joyful return to the culture’s roots. In Stuck, choreographer Mounia Nassangar stages her first choreography, blending whacking technique with a cinematic atmosphere as five dancers probe how movement takes over when language falls short.

Directed by Julia Vidit, this bracing staging revisits Pierre Corneille’s Le Menteur as a baroque comedy where appearances rule. Dramaturge Guillaume Cayet shapes a fluid text that slips between the seventeenth century and today, while a versatile ensemble, including Joris Avodo, Marion Duphil, Mégane Ferrat and Adil Laboudi, performs a kaleidoscope of duplicity, desire and social manners. A mirrored set amplifies the play’s games of deception and theatricality.

In French.