Cultural Kiosk at UN Geneva & CERN

Stephan Eicher casually steps onto the stage to deliver something between a concert and a play. The musician interweaves stories and songs, anecdotes about what it has been like to perform on stage for the past forty years. Directed by François Gremaud, he explores the singular and precious connection that takes shape between an artist and his audience. A theatrical and musical solo tinged with memories, that celebrates shared encounters and moments of listening.

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This show could have been called Les Regretz, or Les Trous. It is called Les Voüéces. Les Voüéces are Voices that trouble the daily life of Rodogonde and Frénéjus, two ladies who live as hermits at the top of a very tall tower. Together, they embroider, play and chat in an enchanted, pseudo-medieval language. In their gilded cage (well, well), they attempt to fill the holes of silence, of passing time, of black bile, or of the vertiginous void which is doing nothing while the world burns. And some holes are difficult to fill… But who are these voices who are trying to speak to them? Ghosts, a prank, drama, fear, their guilt, or simply a stranger looking for shelter?

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Christian is on stage. He plays the role of Christian, a deaf man. Sometimes, he plays the role of François, his brother, the director of the play; and other roles still. Together, they reenact a brotherly and political story: that of a world in which sign language illuminates silence and invites us to see and hear differently. Here, a handicap does not signify a limit, but rather a creative invitation. Through a dialogue between the visible and the audible, Christian and François share a performance where difference becomes power, and resistance a possibility for joy.

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Pétrole is the crowning work of the Italian poet and filmmaker Pier Paolo Pasolini, a novel left unfinished due to the author’s assassination, made up of notes that draw freely from a myriad of literary forms. Against the backdrop of an investigation into the mysterious circumstances surrounding the death of Enrico Mattei, a boss of the Italian hydro energy industry, Pétrole follows the double character Carlo: Carlo 1, a brilliant engineer, and Carlo 2, who is searching for a liberated sexuality, freed from taboos. Pasolini thus exposes his own contradictions and antagonisms, as well as those of his time, without resolving them. Sylvain Creuzevault, a great reader of political history, together with a larger-than-life theatre troupe, elevate the novel to a fragmented, lyrical and impetuous theatre fresco.

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A circus. Its starry ring seems unsettling, cruel even, the counterfeit image of a troubled reality. Madame Royale’s unmoving cymbals and the flea trainer’s hands seem to reveal something other than children’s smiles… A playful excitement, certainly! A marvellous and magical world! But what violence must one accept in order not to see the cages and the whips? Through her zany and chaotic circus, artist Julia Botelho, a recent graduate of the HEAD and La Manufacture schools, reminds us of the existence of violence and its perverse hold over childhood innocence.

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Trilogie terrestre is a series in three parts, devised by Bruno Latour and Frédérique Aït-Touati. On stage, a researcher-professor-thinker, the philosopher’s theatrical double, attempts to rekindle the dialogue between the living and its representations. The first part, Inside, is an occasion to test possible visual alternatives to the dominating and deceiving image of the “Globe”. The second part, Moving Earths, interrogates our experience of earth as moving, reactive, evident. Finally, Viral highlights contagion as a process that is essential to the constitution of our world, and questions the social and political consequences of an expanded redefinition of the living. And thus science becomes “dramatic”, and knowledge a sensory and fascinating experience!

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Please, enter the great ballroom… It is already quite full. But full of who, or what? The celebration has already begun, the ball did not wait for us to arrive: there are beings present. Everything here is moving. Sounds, breaths. Through these diffracted points of view, the act of dancing together takes on a particular meaning: it is a way of conjuring and evoking forces of nature, other living beings, geological cycles, weather phenomena, natural events, the catastrophes and disruptions of the world. Le Bal de la Terre is an immersive invitation to shake up our earthly imaginaries through dance, theatre and celebration.

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In the shadow of a fantastical rock imagined by director Nina Laisné, dancer François Chaignaud welcomes the singer Nadia Larcher, a major figure in Argentine folk and traditional music, accompanied by six musicians and their sackbut, bandoneon and sachaguitarra. Together, they awaken ancestral mythological creatures – animals and plants, sibyls who orchestrate the future and harness the power of belief. Music and dance from a vast South American repertoire intertwine and combine until they merge into a baroque, telluric and virtuoso allegory of origins.

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