Created and performed by François Herpeux, La Force de la Farce catapults the audience back to June 1977. Herpeux inhabits Patrice Laforêt, a hapless comic determined to catalogue every form of human humour and send it into space. Joined by Mich‑L, a first-generation artificial intelligence, the show blends farce and satire into a meta-theatrical quest that interrogates comedy, failure and salvation. Its playful, inventive staging pays wry homage to the Voyager Golden Record while exploring absurdity and human resilience.

In French.

Directed by Orélie Fuchs, this stage adaptation of Pierre Bourdieu’s La Misère du monde gathers testimonies about daily life, work, unemployment and social judgment. Four performers—Tan Chen, Claire Deutsch, Vincent Fontannaz and Davide-Christelle Sanvee—give voice to experiences of precarity in a staging that interrogates the social mechanisms producing suffering. A live, transformed scenography and intimate ensemble work create a tactile, humane atmosphere that foregrounds testimony and collective memory.

In French.

Directed by Philippe Quesne, this delicate stage piece follows five performers who turn a former workshop-turned-gallery into a cabinet of curiosities. Animated objects, visual poetry and a playful sense of humour compose the mise-en-scène, where everyday gestures mix with theatrical fantasy. The staging interrogates, with tongue-in-cheek intelligence, the place of art in daily life, balancing subtle absurdity and gentle melancholy.

In French.

Directed by Fabrice Gorgerat, Le Corps de Claudine stages a poetic, metaphorical exploration of a body marked by Parkinson’s disease and ageing. On a reduced domestic set, performers Fiamma Camesi, Shannon Granger and Christophe Jaquet inhabit a fragile, constrained body—between implants, heavy medication and memory—evoking intimacy, time’s erosion and the complex love between mother and son. The piece blends physical theatre and lyric imagery to probe vulnerability, care and the persistence of tenderness.

In French.

Hell. is an intimate stage investigation in which a woman rediscovers a hard drive filled with archives of her online past. As she scrolls, the computer becomes a living character — a distorted mirror and autonomous system that processes her data and attempts, imperfectly, to reconstruct her. The piece unfolds as non-linear memory tableaux where time loops and fragments, traversing real pain, attempts at repair, collapse and rebuilding, and transforms memory into a living gesture of mourning and love.

In French.

Directed and performed by Agnés Mateus, Patatas Fritas Falsas is the third instalment of a trilogy on violence that confronts political extremism under Franco through a corrosive stage performance. Combining satire, political cabaret, techno music, ventriloquism, puppetry, contemporary clowning and live performance, the piece uses a stripped theatrical device by Quim Tarrida to probe mechanisms of fascism, collective passivity and the rhetoric of hate. The show addresses the audience directly with sharp, confrontational humour.

In Spanish with French surtitles.