Mentir lo Mínimo by Cie Alta Gama follows the journey of three bodies — a woman, a man and a bicycle — stripped down to the essentials: the body itself. Performers Amanda and Alejo create daring partnering, acrobatics and bicycle voltiges to explore self-relationship, identity and intimacy. Blending circus, theatre and live music within a minimalist aesthetic, the piece treats physicality with subtlety and celebration, offering a poetic, tactile reflection on presence.

Jérôme Rouger presents a theatrical conference that blends spectacle and humour to examine the actor–spectator relationship and the influence of the audience on a performance’s quality. What began as a thirty‑minute piece has grown into a standalone creation: Rouger uses sharp observation, playful timing and immediate exchange with attendees to offer witty, eloquent guidance on presence, attention and behaviour in the theatre. The performance alternates reflection and live demonstration, prompting fresh awareness of collective dynamics.

In French.

Created and performed by Gentiane Pierre and Noémie Lamour with their company Mise à Feu, Diva Syndicat surveys a millennium of women’s music from Hildegarde of Bingen to contemporary popular voices. The theatrical musical act mixes burlesque humour, character-driven staging and musical reinterpretation as the duo inhabits forgotten composers and performers. Combining theatrical invention, vivid costumes and playful choreography, the show offers an agile, sensual and political celebration that restores the presence of women in Western musical heritage.

In French.

After Amadou’s death, Mariam’s voice has acquired a new depth. Born in Bamako, she met Amadou at the Institut des jeunes aveugles, and together they formed a long-standing artistic duo that produced songs now part of the collective memory, from «Je pense à toi» to «Beaux Dimanches». On stage with her musicians, Mariam keeps their heritage alive while presenting material from her recent album L’Amour à la folie, creating a luminous and sensitive celebration.

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.