Directed by Muriel Imbach, Le nom des choses stages five performers in a poetic, playful investigation of language through a child’s gaze. Against a cloud of black confetti, the ensemble deconstructs and reshapes words, renaming objects to metamorphose realities. Combining theatre and philosophy, the piece mixes humor and lyricism to examine how language constructs and transforms the world, offering a gentle yet political reflection on imagination, naming and collective emancipation.

In French.

Angèle’s Dreams is an intimate recital by Clédat & Petitpierre, a long-standing duo of sculptors, performers and choreographers. In a tender, sylvan universe a young protagonist and a surreal creature — bird beak, rabbit ears and blue-green fur — meet and bond through music and movement. The artists blend sculpture, puppetry and live performance to create whimsical, sometimes comic encounters that evoke an imaginary bestiary. A gentle, family-oriented piece about friendship, wonder and playful discovery.

Twenty years after the album that brought him to wider attention, Abd Al Malik revisits Gibraltar in a musical performance that probes questions of identity through poetry, wisdom and sincerity. Presented by Les visiteurs du soir, the staging brings together an ensemble of musicians and a dancer to reinterpret the album’s tracks with intimate arrangements and choreographic accents. The result is a contemplative and lyrical evening that examines belonging, memory and cultural dialogue.

In French.

Choreographer Po‑Cheng Tsai creates physically bold, poetic and visually striking works. After Floating Flowers (2022) and Alice (2024), Crack takes inspiration from melting glaciers to explore contemporary solitude and the slow disintegration of relationships. Combining traditional Asian movement, jazz, martial arts and hip hop, Tsai stages 13 virtuoso dancers in a pared‑down scenography and immersive sound design. Communions, suspensions, tremors and fractures trace a hypnotic yet urgent choreography where the body becomes a fragile mirror of our world.

Opium is an immersive, dreamlike performance by the company 32 Novembre that unsettles the boundary between reality and illusion. In small groups audiences are guided from chamber to chamber through a sensory, experiential path where mentalism, fakirism, corporeal magic, telekinesis and visual arts combine. The piece deploys a plural magic that mixes subtle theatrical craft and tactile spectacle, culminating in a shared collective hallucination.

In French.

Xavier Machault leads Pelouse, the rock side of his work, alongside Quentin Biardeau and Martin Debisschop. Their music wraps feverish saxophones, dense synths and thick basses around sensitive texts that shift between intimate, political, surreal and poetic. With mordant, offbeat humour, Pelouse strips rock and chanson to their raw core. For the group’s tenth anniversary the repertoire is enlarged: an eight-piece ensemble revisits the trio’s songs, blending contemporary music and jazz while retaining a raw, rock composition and lyrical intensity.