Programme

Inspired by fantastical images and archaic rituals, Silver Rosa conjures the visceral need for individuals to build bonds. Yuval Pick wants to set us in motion and touch our heart. The place where our endless desires pulsate.

The shifting entity of 20 Opéra de Lyon dancers instils its relational and proliferative modes in the mycelium, the underground part of a fungus that extends its filaments so that information can circulate.

Amid a maze of stairways, 22 dancers seek possible paths, leading one another towards the depths or the heights. This collective adventure asks a question: what can we do when everything collapses?

With gurning face and high-voltage hips, Marlene Monteiro Freitas electrified the stage in Guintche. Now she is reviving this eye-catching solo from 2010, augmented with live music by two virtuoso drummers.

Staged in Bleu, scenographic artwork at Les SUBS

Nurtured by hip hop and club cultures, Tom Grand Mourcel has imagined a self-portrait in dance. In Solus Break, surrounded by a wall of speakers and up close to his audience, he takes a trip through the music genres that have made him who he is.

Filled with nostalgia for an era she never knew, Katerina Andreou pays tribute here to the golden age of rave culture in the ‘90s. An impulsive and percussive burst of movement, in which the artist performs a duet with a tuned car in a secret location.

Gliding between the notes of Purcell and Marc Mellits, 10 jugglers and four musicians craft a little utopia, where the collective is founded on its members’ differences and singularities.

Two young urban dancers’ virtuoso talent responds to the intensity of a Schubert piano duet in this fantasia by Marco da Silva Ferreira, a self-taught choreographer with a club background who is a master of genre mash-ups.

Le Grand Bal spreads a mysterious choreographic fever that makes 10 urban dancers pulsate. A way of setting in motion again bodies brought to a standstill by the pandemic and contemporary crises.

Orchestrating an encounter-cum-fight between a woman and a statue pedestal, Phia Ménard continues to chip away at the foundations of our societies’ patriarchal violence, through the imaginative realm and a call to dream.

As avatars grow ever more realistic, and photographic filters smooth our features, the boundaries between real and virtual bodies are blurring. (LA)HORDE has chosen this twilight zone as its new field of critical exploration.

Combining virtual reality and physical bodies, No reality now styles itself as a witchcraft ritual. Spanning the gamut of sensations courtesy of digital, this one-of-a-kind creation endeavours to ward off death.

Holding up a mirror to the ancient myths that have fed the history of art, Adi Boutrous invokes, through body and movement, the ethical dilemmas that permeate them and sensitively offers them for sharing.

A choreographed concert performed by a trio, HURLULA is a wild ride through the scream, somewhere between yell and hoot. A liberating emotional overflow with the power to effect a bodily metamorphosis.

Staged in Bleu, scenographic artwork at Les SUBS

A cross-pollination between walking and the blues, EXIT ABOVE, after the tempest / d'après la tempête / naar de storm is a dual return to the choreographer’s roots in gesture and contemporary music. Thirteen performers take us on an escapade that reaches as far as pop.

In a spectacular setting, S 62° 58’, W 60° 39’, takes you on a walk that melds apocalyptic fiction and scenes of the show being created. This story of our era conceals a profound reflection on the creative act.

Nach continues to tell her story in the sequel to her danced lecture Nulle part est un endroit. For the choreographer, who for a long time felt hitched to krump, speaking is a necessity, and eloquence is never the end goal.

In a makeshift garage, a helmeted biker and an outlandish creature, accompanied by mysterious mechanics, engage in a ritual to the sound of a harpsichord. A frontal collision between courtship display and kill.

Adult and child performers burst into an arena where all kinds of danger and joy lie in store. In promise me, they celebrate recklessness and the vital force to push back against the obsession with security.

A duet for a juggler and drummer, S’assurer de ses propres murmures is above all a story of friendship. Giving pride of place to receptiveness and virtuosity, Julien Clément and Pierre Pollet urge each other on until they reach a trance-like state.

Boris Charmatz’s cathedral and his 26 dancers have no walls. Liberté Cathédrale – a human architecture and a dancing, singing, resounding assembly – expands the idea and images that underpin this edifice.

The Out of This World adventure immerses us sceno- and choreographically in a ghostly utopia. To see our world change, why not begin by imagining new societies?

A curious ballet of white balls takes over the stage. Bathed in candlelight and guided by the notes of a string quartet, three jugglers join the proceedings and attempt to pierce their mysteries.

More than 60 dancers move into public space. But this is not about crowd movements: Multitud renders perceptible the organic bonds between bodies, and examines our capacity to affect and be affected.

In a nightmarish, post-apocalyptic setting, two bodies clash as the water rises. In a duet/duel to the death, and for love, Ink probes the dark side of desire and the impossible search for self.

The grand jeté has unsuspected philosophical meaning. Starting with this virtuoso ballet movement, Silvia Gribaudi serves up a show that celebrates the courage it takes to leap into the unknown.

Staged in Bleu, scenographic artwork at Les SUBS

Five dancers in a line exhaust themselves by mechanically repeating four simple yet gruelling movements. When the machine goes into overdrive, will cracks begin to appear ?

A show for three levitating bodies, Dehors est blanc causes us to gradually lose our bearings. By disorientating our perceptual habits, Tumbleweed reminds us that our relationship with the world is fragile indeed.

The fire crackles, cracks, glows and shimmers without stopping. Maybe it even dances? Fouad Boussouf grasps this element and crafts it into an incandescent piece of choreography. A circle without beginning or end.

Translated as “enchanted” in the Afro-Brazilian tradition, Encantado also refers to mystical, nature-protecting entities. Lia Rodrigues calls upon these magical forces in a bewitching and many-coloured ballet.

An iconic piece in Phia Ménard’s repertoire, L’après-midi d’un foehn Version 1 depicts an aerial ballet of coloured plastic creatures. But its initial grace gradually segues into anxiety.

In a series of tableaux vivants, Silvia Gribaudi and her three dancers subvert the norms of beauty and their authority with a piquant sense of mischief. An ode to bodies’ imperfections and freedom.

Whether mirroring or merging to form a new hybrid being, Alexander Vantournhout and Axel Guérin humorously and tenderly explore all the possibilities that flow from the meeting of their bodies and differences.

YËS celebrates Yanice and Sébastien, two young dancers and beatboxers. This virtuoso duo blends hip hop and acting into an ode to the performer figure, and to tight-knit friendship and singularities.