Geneviève Pasquier and Nicolas Rossier bring to the stage the famous diary of the German-born Jewish teenager, written between 1942 and 1944, when she was between 12 and 14 years old and living in hiding. The piece bears witness to her intent quality of observation, and opens up her account to universal concerns.
Un intervenant, conférencier invité, se laisse emporter par sa passion pour Phèdre de Racine, comme Phèdre l'est par son amour pour Hippolyte.
Cette représentation est captée par une équipe de télévision, les places ne sont pas numérotées
The last lecture of a tired speaker on the subject of “Vita Nuovas in literature”. Failing to keep a grip on his presentation, Romain Daroles incessantly returns to the topic of a certain Louis Poirier, a forgotten writer, “without work” as it were. A playful and spirited “utopian attempt to salvage knowledge and life”.
Chloé Moglia is an athlete, circus artist, researcher and distinguished trapeze artist. L’Oiseau-Lignes was born from the dialogue between the acrobat and the saxophonist Marielle Chatain. Together, they turn risk into an opportunity for reinventing our relationship to the world.
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A theatrical and auditory journey with poetic and political accents: Volia Panic merges a visual universe made of hemp, wood, and iron, with the unbridled energy of a punk-rock theatre-concert, thus evoking the Russian fascination for the cosmos, from the poet-philosophers of the 19th century to Gagarin’s first flight.
Under the watchful eye of a real-time electricity meter, Yvonne reconnects with her middle-aged, boho, eco-conscious friends. Meanwhile, Jean-Michel, Yvonne’s gilet jaune lover, is gathering dust in the closet. Marielle Pinsard highlights the contradictions of our time in this eco-connected and autobiographical comedy.
A cabaret of the imagination, a circus starring a quick-change artist, a DIY voodoo ceremony... In Voodoo Sandwich, a one-man show for young adults, the artist Augustin Rebetez and the contortionist Niklas Blomberg stage the promise of an insatiable life, with multiple and fluid identities.
Des hommes noirs, menacés par la police et stigmatisés par la population, se rassemblent dans un lieu autogéré au coeur de la ville. Ils témoignent de leur quotidien et revendiquent leurs identités, sans avoir à s’excuser de ce qu’ils sont. Le film décrit l’état de siège physique et mental des Noirs en situation précaire à Lausanne. Confronté à d’évidentes nécessités de protection de l’anonymat et à l’impossibilité de filmer dans la rue, No Apologies s’est constitué autour d’un dispositif permettant aux protagonistes de s’exprimer librement.
On the borders of Guyana, the GdRA meets Sylvana Alimina Opoya, a member of the Amazon’s Wayana tribe. They stage the dramatic portrait of this woman and this forest, in an intercultural piece brought to life by dance, words, images and sounds.
Daria Deflorian and Antonio Tagliarini have made their home in the silences of Antonioni’s masterpiece movie, Red Desert. Their “theatre of almost nothing” makes the case for a sincere relationship to our surroundings; that which is expressed in our flaws, failures, and the child that lives on within us.
Zurich in the 90's : a time of libertarian demands, AIDS and fledgling globalisation. The murder of a young homosexual man reveals the secrets and flaws of an underground community. Anne Bisang and Mathieu Bertolet lead this investigation adapted from Patricia Highsmith’s last novel.
The novelist Édouard Louis writes a letter to – and for – his father, painting the portrait of a labourer who is physically and socially ruined by the age of 50. He decrypts the social and political reasons for his situation, and entrusts the story to the actor and director Stanislas Nordey.
Nicolas Bouchaud has taken on Thomas Bernhard’s vindictive satire in the form of a cruel comedy for one voice. His character attacks everything which he perceives to be mediocre. A forceful diatribe which, as we gradually discover, is walking a tightrope over a chasm of despair.
Visite, repas et représentation de Jacqueline – Écrits d’Art Brut au TFM, pour les Abonné·e·s Vidy
Les Écrits d’Art Brut réunis par Michel Thévoz sont semblables à la découverte d’un nouveau continent. Accompagné d’un percussionniste, Olivier Martin-Salvan nous plonge dans une expérience puissante.
Programme
17h visite guidée de l’exposition Scrivere Disegnando. Quand la langue cherche son autre au Centre d’art contemporain de Genève, qui croise des artistes d'Art Brut, dont les œuvres appartiennent essentiellement à la Collection de l'Art Brut, et des artistes des néo-avant-gardes et contemporains
19h repas
20h30 représentation
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One of Patrice Chéreau’s most faithful actors stages a theatrical homage to the director’s demanding nature, his perspicuity and his sensibility. By reading from his little-known works, he shares the great European artist’s thoughts concerning the visual, stage and performing arts.
For Émilie Charriot, the theatre holds the possibility of an intense relationship, as fragile as it is strong, in a way that is hardly possible in everyday life. By staging Offending the Audience, Peter Handke’s landmark text, she explores what happens to the presence of the actor once false expectations have been swept aside.
Stefan Kaegi has created an immersive piece in which spectators take on the role of labourers, engineers and fnanciers. He posits construction sites as microcosms that condense the paradoxes of our contemporary society.
In The Meursault Investigation, the Algerian journalist and novelist Kamel Daoud gives a voice to the brother of the anonymous Arab man killed by Meursault, the protagonist of Camus’ The Stranger. Nicolas Stemann stages the imaginary encounter between the murderer and the victim’s brother – between Camus and Daoud.
A cabaret of the imagination, a circus starring a quick-change artist, a DIY voodoo ceremony... In Voodoo Sandwich, a one-man show for young adults, the artist Augustin Rebetez and the contortionist Niklas Blomberg stage the promise of an insatiable life, with multiple and fluid identities.
In a piece for fve dancers and two pianos, Alexandra Bachzetsis revisits the dance duo by doubling hitherto familiar or recognisable bodies with their double, their mirror image or their spectre: a striking choreography that combines the issue of identity with the strange and the hybrid.
Marie-Caroline Hominal pursues her line of questioning into the notion of authorship in dance by collaborating with the South African dancer and choreographer Nelisiwe Xaba. Together, they explore the mechanisms of appropriation: who is the author of an “appropriated”, or copied, dance?
Simon Senn, a plastic and video artist from Geneva, purchased the digital copy of a female body online, then embarked on a quest to meet the woman whose body he would go on to inhabit thanks to virtual reality. He takes to the stage to share his uncanny experience.
The artist Théo Mercier and the choreographer Steven Michel return to Vidy with BIG SISTERS, in which four dancers aged 23 to 65 undergo different metamorphoses, thus shining a light on the fantasies and projections at work in representations of the female body.
Olivia Pedroli, the singer from Neuchâtel, imagines a theatre of voices: an experience that summons visual materials as much as sounds. Alone on stage with her piano and instruments, sitting in the centre of a multimedia apparatus which makes images resonate with sounds, she invites us on a dreamlike musical journey into the folds of time.
During a hotly anticipated symposium, an eminent international group of specialists in limitology are delivering the results of their research. Frédéric Ferrer invents a hybrid form, between science and theatre, in order to think the world differently in a time of climate emergency.
In The Meursault Investigation, the Algerian journalist and novelist Kamel Daoud gives a voice to the brother of the anonymous Arab man killed by Meursault, the protagonist of Camus’ The Stranger. Nicolas Stemann stages the imaginary encounter between the murderer and the victim’s brother – between Camus and Daoud.
Plongés dans un univers fantasmagorique, Aurélia Thierrée et Jaime Martinez évoluent dans un monde enchanteur empli de poésie. Dans cet univers en perpétuel mouvement, des murs s’ouvrent et se referment, un portemanteau se met à marcher, des portes tournent, des personnages changent d’apparence.
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Who is Goldilocks, really ? And what about those bears ? The famous fairy tale remains open to many interpretations. Alain Borek invite us to re-enact the story together, in an interactive show that evolves according to the audience’s choices.
The filmmaker Alain Cavalier and the director Mohamed El Khatib met thanks to a mistakenly purchased camera. On stage, they pursue a free-flowing and friendly dialogue on the subject of what animates their life and their work, from one culture and generation to another.
A young woman stands on the street. She introduces herself as a window-cleaner – temporarily. She begins to speak. She lets off steam, venting her anger and her needs. Pascal Rambert wrote this seething text for the Swiss actress Lola Giouse, directed here by Denis Maillefer.
The choreographer Tabea Martin explores concrete social situations from the point of view of the body, through the medium of dance. In her new piece, she delves into the ways in which we cope with the death of others, close or removed – our sorrows, rituals, celebrations or denials in the face of grief.
Created at Vidy in September 2018 and praised by audiences and critics alike, Les Idoles, by the filmmaker and director Christophe Honoré, stages a generation of artists who died of AIDS and are now brought back to life on stage to exchange their views on love, illness, art and engagement.
Ce projet naît de la rencontre des étudiant·e·s avec Olivier Dubois à travers la découverte de son spectacle Tragédie, basé sur l’alexandrin, et un stage effectué en première année.Pour leur création de fn d’études, le chorégraphe les amène à la frontière entre danse et théâtre : en s’immergeant dans le texte, en passant le rythme du vers racinien dans les corps, surgit la dimension contemporaine, organique et sensuelle de la tragédie.
Sous-titré "comment réussir son exil en 35 leçons", voilà un récit d’une ironie féroce, où autodérision et prose poétique éclosent comme des ronces alors que l’humour sculpte la douleur. L’écriture à la fois guerrière et dentellière de Velibor Čoliç est portée par la mise en scène de Maya Bösch et la voix pleine d’engagement de Jean-Quentin Châtelain, seul en scène.
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Spectacle en deux parties avec les danseur·se·s du Bachelor en Contemporary Dance : la chorégraphe française Mathilde Monnier les entraîne dans un mouvement continu qui se propage jusqu’à saturation, un concert de pas, une pièce sur le temps qui passe et ce qui ne passe pas ; le chorégraphe espagnol Salva Sanchis confronte la voix au mouvement, qui transforme, interfère et interagit avec le geste, défaisant les hiérarchies ordinaires entre voix, musique et danse.