Ben Mazué presents an intimate, poetic evening around his album Famille. As author, composer and performer, he blends chanson, spoken word and pop to weave candid narratives and delicate melodies. The performance focuses on family, memory and emotional honesty, delivered with intimate staging and warm vocal interplay. The production by Opus One highlights subtle arrangements that foreground Mazué’s lyrics and storytelling.
In French.
Electron Festival is one of Europe’s leading festivals dedicated to electronic culture, bringing together pioneering artists, musicians, visual creators, researchers, and audiences through an ambitious multidisciplinary programme. Exploring the intersections of electronic music, digital arts, audiovisual performance, technology, and club culture, the festival offers immersive concerts, live performances, exhibitions, workshops, talks, and participatory experiences that celebrate both artistic innovation and experimentation.
Directed by Céline Goormaghtigh and written by Anne Berest, LA VISITE probes maternal instinct with sharp humour and urgent intensity. In a compact domestic setting, a young mother at the limits of endurance confronts visitors while her defenses dissolve; a trio of actresses whirl and collide, delivering a caustic torrent of language and revealing movement. The work explores ‘matraissance’—the birth of motherhood—balancing lucidity, rage and tenderness to unsettle familiar myths about maternal bliss.
In French.
A darkly comic solo play about obsession and domestic chaos. When Michel finds a rare record he has long sought, he prepares a perfect hour to listen — but family, neighbours and a drip that will wreck the disc steadily intrude. The piece skewers selfishness with sharp humour and precise staging, combining intimate realism and heightened farce to probe human smallness and the desperate desire for solitude.
In French.
Choreographed by María del Mar Suárez (La Chachi), this hybrid flamenco pieces tradition and punk sensibility into a raw, personal language. On stage two musicians and a singer shape a live soundscape that frames La Chachi’s emergence: a dim light reveals her silhouette as she advances and begins an ascension. Her motions coil and break in looping cycles as the music intensifies. Visceral and hypnotic, the performance immerses spectators in concentrated rhythms and fierce corporeal poetry.
Performed by Nicolas Maury, this solo reading of Sarah Kane’s 4.48 Psychosis offers an intimate, unflinching journey into depression and the limits of language. Vanasay Khamphommala’s French translation preserves Kane’s fragmented rhythm and emotional intensity. The staging favors minimalism, with a solitary voice, sparse lighting and focused sound design to magnify the text’s raw immediacy. The performance invites sustained listening and emotional immersion.
In French.
Two short plays by Anton Chekhov staged by Tibor Ockenfels and Flavie Tapparel, presented as compact dramatic machines where romantic comedy masks escalating confrontations between desire, affection and material interest. Performances rely on precise physical timing, terse exchanges and a lean, playful design to reveal the simmering violence behind courtship rituals. The three actors — Estelle Bridet, Matteo Prandi and Raphaël Vachoux — inhabit heightened character types that shift between farce and darker comic truth, creating a sharply observed, kinetic evening.
In French.
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