The Grütli defines itself as a “center for the production and dissemination of the performing arts.” It offers a rich tapestry of live performances, spanning theater, dance, and local artists’ showcases. As a contemporary theater, it concentrates on current themes and local narratives, serving as a lively hub for contemporary theater. Additionally, the Grütli houses a cinema and a café.
Une Ville à Soi is an immersive sound creation built from testimonies gathered in local neighbourhoods. Guided by two narrators, the performance projects listeners into 2075 while reflecting on what it means to be a woman in the city of 2027. It traces a feminine geography of presence and absence, revealing everyday strategies and intimate political gestures. The piece unfolds as a sensitive, political promenade that redraws urban space step by step.
In French.
Presented at the Festival CDD, Jésus Triste follows a gang of bus fare dodgers seeking a line of flight to walk between the drops of the worst empire that governs them. Performed by a tight ensemble, the piece mixes grotesque humor and bleak poetry, using physical theatre, rhythmic text and stripped-back staging to evoke precarious survival and collective resistance. The production balances tenderness and fury in an unsettling, poetic atmosphere.
In French.
Le sourire de la tarte tatin follows a small ensemble on a tenderly comic quest: convinced that a work of art can ease pain, they set out to find this curative masterpiece as if searching for the Grail. The piece blends intimate realism and gentle absurdity, probing helplessness, friendship and the unexpected discoveries that arise when pursuit alters the seeker. Sparse staging and attentive rhythm invite empathy and quiet laughter.
In French.
Four performers improvise three short pieces within scenographies borrowed from other artists. Each evening, they discover a set knowing only its title and immediately create a unique, site-specific improvisation that reinterprets the original decor. The work explores authorship, memory and theatrical space through playful, risky physicality and attentive listening. Each performance is followed by a post-show discussion with the artists.
In French.
A sprawling exploration of Art Brut, this durational stage project weaves five distinct propositions — a lecture, a monologue, a choral piece, a rock concert and a plastic installation — into a single evening-length journey. The work stages homage and celebration, inviting the audience to follow a game of clues that reveals singular creative necessities. Staging shifts between intimate testimony and full-throttle sonic ensemble, producing moments of quiet astonishment and communal intensity.
In French.
Led by Emmanuel Colliard, Saint-Alban offers a luminous concert that revisits the life and work of Marguerite Sirvins through ten finely wrought songs. With guitars and keyboards, the ensemble (Emmanuel Colliard, Gael Kyriakidis, Fabrice Seydoux, Romain Gachet, Sacha Ruffieux) navigates between rage and delicacy, mixing lyrical, solar and melancholic textures. Texts by Fabrice Melquiot give voice to Sirvins’s solitary, obsessive craftsmanship — the patience of a woman who stitched a legendary wedding dress. The staging balances intimacy and intensity.
In French.
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