Stand-up and character comedy by Julien Bing, Toute la vérité, rien que la vérité, ou presque. He navigates uncomfortable truths, elusive nuance and the “instagrammable” image, blending observational monologue and playful personas. The show probes contemporary paradoxes with a smartly awkward delivery, alternating sharp satire and human vulnerability. Intimate and theatrical, it invites reflection through laughter while sketching a portrait of our image-driven age.
In French.
Led by choreographer and pedagogue Guillaume Siard, the junior Area Jeune Ballet de Genève responds to a contemporary exhibition by turning visual motifs into movement. The young ensemble investigates ways of seeing, using layers and superposition as a choreographic device. Sparse gestures, precise groupings and shifting light suggest new perspectives on the artworks, while an attentive staging balances playful experimentation with rigorous technique, creating an intimate, contemplative atmosphere that invites reflection and renewed visual attention.
Directed by Marika Dreistadt, Halte gives voice to eight young adults formerly in child protection, tracing the fragile passage from placement to adulthood. Non-professional performers — Zakaria Attoumani, Melanda Bertrand-Avebe, Celina Chraiet, Maël Do Nascimento, Alexis Limacher Abreu, Natalia Nguba Ekela, Clémentine Polly Care Pache and Léon Trolliet — blend testimony, courtroom scenes and moments of defiance. The staging mixes documentary realism and theatrical composition to reveal generation Z perspectives and intimate questions about authority, belonging and the future.
In French.
Choreographed by Valeska Romero Curiqueo, Pewma (Mapudungun for “dream”) weaves dance, performance, live sound and poetry to trace transmissions between bodies. The piece confronts peripheral, wounded and violently marked identities through ritualized gestures and sensual collisions, invoking Venus as a figure of omen, destruction and rebirth. Live violin, synthesizers and vocals shape a tense, luminous soundscape as bodies dissolve and reconstitute, staging desire, friction and collective memory.
Directed by Nathalie Cuenet and written by Valérie Poirier, Dire adieu is performed by Compagnie Volodia. The piece stages fragmented conversations between a daughter and her mother, probing a quest for recognition and the fragile possibility of reconciliation. Its form recalls the codes of Greek tragedy, using heightened language and concentrated staging to explore memory, silence and unresolved grief. The ensemble creates a tense, intimate atmosphere that makes emotional rupture palpable.
In French.
Written by Stéphane Bouquet, Six heures plus tard is an intimate stage performance for two performers that explores the fragile bonds between a man and a woman through poetic text, live-filmed images, spare lighting and pared-down stage presence. The piece treats silence as a shared, collective resource and recomposes itself according to each venue’s architecture and the state of the bodies, creating an unusual proximity and contemplative atmosphere.
In French.
Does having a Swiss Federal Railways (SBB/CFF) first-class travel card mean you’ve made it in life? What were the people smoking who designed the Isle of Man flag? Have you ever tried Didier’s tiramisu? What do you call those triangular dividers on supermarket checkout conveyor belts? Should we compost our boogers? Are you manly even if you can’t lift a heavy suitcase? Who actually likes fireworks? Can you name your child Ragusa? All these questions (except two) are addressed in tchoutchou.mp3, Blaise Bersinger’s new, not-so-improvised one-man show. Oscillating between stand-up, concert, and a stroke, the Lausanne-based comedian offers you a rather silly and reassuring (train?) journey for your digestive system. As Douglas-Wolfgang Bersinger, Blaise’s fictional uncle, said two years after his brain removal: “aaha è gah”
In French.
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