
Situated in a recently constructed space above the new Gare des Eaux-Vives, La Comédie de Genève is a distinguished theatrical institution housing two theaters equipped with high-quality technical facilities. It hosts a wide range of performances, from classical to contemporary works, and is not limited to theater alone, often featuring dance, conferences, workshops, and collaborations with festivals.
Focus Jeune Création brings together a new generation of Romand artists over two weeks, presenting five bold and hybrid performances that blur theatre, performance and live art. The program explores emergent writing and stage practices— from plateau-based text to pieces rooted in the real—offering layered, often indisciplinary approaches that question formats and invent languages for a transforming world. Accompanying meetings and discussions extend the works and open insight into creative processes.
Directed by Gabriel Sparti, Menace Chorale follows an amateur town choir drawn into a tightening ideological mechanism under a charismatic new conductor. The piece uses vocal textures and staged rehearsals to contrast luminous harmonies with the unsettling meanings behind their repertoire, sketching a miniature society where desire, ambition and collective pressure calcify into authoritarian dynamics. Through subtle disruptions, layered readings and meticulous sound and lighting textures, the production feels at once funny, eerie and incisively political.
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.
Created and performed by Elina Kulikova and Dima Efremov, TRILOGIE DE LA GUERRE interweaves three musical-performance pieces responding to exile, the war in Ukraine and repression in Russia. Kulikova’s chapters evoke classical and folk song, transforming lament into a ritualised, sensory mourning; Efremov’s contribution uses sound art and electro textures to shift perspective and map clandestine networks of resistance. Together the trilogy forms a compact dramaturgy of intimacy, unease and fragile hope, immersive and politically charged.
Choreographed by Catol Teixeira, Baby Teeth is a ten-dancer work that inhabits the mouth as a site of taste, biting and contagion. The piece weaves song, movement and tactile materials into a polyphonic choreography where pleasure and pain coexist. Collaborating with visual artists, poets and lighting designers, the ensemble explores memory, transmission and the birth of language through shifting textures and intimate gestures. The multinational creative team brings a collective, ritual quality to a sensory, transformative journey.
Corps Ô Plurielles is a participatory choreographic creation project led by Germaine Sikota and Caroline de Cornière. It examines the dancing body as a bearer of memory and singular narrative, and seeks to bridge professional dance networks across artistic, social and cultural fields while fostering a local, socially rooted ecology of creation. Through movement, voice and textiles, participants explore filiation, heritage, memory, resilience, transformation and repair. Each person is invited to bring a textile that matters in their life. The project culminates in a collective participatory performance.
In French.
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