Cultural Kiosk at UN Geneva & CERN

An hour of intense seconds. An hour of unique, never-repeated movements. There is jubilation and nostalgia in these 10,000 gestures that Boris Charmatz stages, and presented in Geneva for the first time after their creation in 2017. 400 gestures per dancer, in their respective unique and ephemeral scores. Singing, kissing, toe-licking, giving birth, giving the finger, or a double jump in the air… make up “the impossible collection, the choreographic anti-museum” teeming with disappearances and small moments of memory. We won’t see the same show, but for each and every one of us, it will be unforgettable.

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This year, our Amateur Theater troupe opens an intimate garden where each of us cultivates the art of living in our own way.

A garden, like an island amidst the din, to be moved once more by the beauty of the world.

A time rediscovered, to recount those fleeting moments, those tiny epiphanies that make the ordinary sparkle in our days.

There will be dialogues with the invisible, revisited childhood dreams and the smell of crêpes, verses by Racine, little opera rats, a Claudette escaped from a 1970s choreography, a sea crossing, lookalikes, a unique flamenco performance, a visit from Marcel Proust, and, of course, songs!

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Make way for happiness: let your hair be blown away by the wacky epic of an irresistible duo and 150… cards!

Pinch me, I’m dreaming! There are only two of them, moving sky and signs before your eyes to give body and voice to a crazy chase across Europe. The first, a pot-bellied, more or less Shakespearean actor, “mutters” in a fanciful language about the cavalcade on skates, scooters, airplanes, and mulebacks; the plump actor remains stubbornly glued to his stool. The second, his mute and scrawny sidekick, leaps in all directions with an absolute burst of energy, bringing to life the landscapes, characters, and objects that litter the fantastic odyssey of the sedentary storyteller. The pathetic agitation of one, combined with the immobility of the other, collide in a great burst of laughter. From cartoons to cartoons, there’s only one virtuoso “pas de deux,” a relentless mechanism that sets the imagination whirling and the words springing forth from the very heart of the tumultuous tale.

Les Gros patinent bien received the 2022 Molière Award for Public Theater.

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What if we extended the pleasure provided by the adaptation of The Way of the World, performed more than 70 times to sold-out audiences in our Petite Salle?…

Although Nicolas Bouvier wrote thousands of pages about his relationship with the world, he mostly experienced it in the flesh. Leaving Geneva in 1953, he crossed the Balkans with his friend Thierry Vernet, then continued alone to Afghanistan and India before arriving in Ceylon, now Sri Lanka, in 1955. But the island of a thousand smiles made him grimace. Bouvier the wanderer fell ill there and sank into the fever of this tropical hell where solitude weighed as much as the heat. Immobilized in the dampness of his room, he traded the company of men for that of exotic insects and hypnotic visions. Experienced as an exorcism, Bouvier waited nearly 25 years to publish the captivating tale of The Scorpion Fish, where humor permeates the magical and the bizarre.

You have to be a stage animal to embrace the excess and beauty of wandering. Led by Catherine Schaub, actor Samuel Labarthe magnifies the musical phrasing of this motionless journey with the precision of a miniaturist. The performer becomes one with the language and transforms Bouvier’s flow into an elixir of youth palpable with all the senses.

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Sometimes there are shows that have a touch of soul and constitute a repertoire in and of themselves. We are therefore proud and moved to give new life to this gem, conceived by Dominique Catton, Christiane Suter, and Gilles Lambert in 2001.

Like a phoenix, the exceptional stage adaptation of Hergé’s comic strip reemerges into the spotlight 25 years after its creation. The plot erupts with a bang through the (at)traits of Bianca Castafiore, a famous and slightly intrusive diva. “Heavens! My jewels”: the coquette has an emerald stolen.

A vaudevillian investigation begins with a bang, turning the peaceful Château de Moulinsart upside down, suddenly transformed into a theater of operations. Misunderstandings, slips of the tongue, and misunderstandings abound, and the entire cast of legendary Tintin characters finds themselves caught in a comical closed-door drama riddled with red herrings.

From the comic strip to the stage, this extraordinary show, performed by unrecognizable performers, faithfully replicates the original album, thanks to a brilliant, playful, and eminently theatrical set design. Watch out, this is a thousand thunderbolts!

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Août 2021 : l’Afghan Girls Theater Group composé de neuf comédiennes et d’un metteur en scène fuit dans l’urgence le régime retombé dans les mains des Talibans pour s’installer à Lyon, où leur aventure théâtrale continue à percuter la réalité avec une rare intensité. Le Théâtre Nouvelle Génération de Lyon et le Théâtre National Populaire à Villeurbanne, dirigé par Jean Bellorini, s’associent pour les accueillir, puis accompagner leur parcours artistique, si intimement lié à leurs trajectoires humaines.

S’appuyant sur la tragédie antique de Sophocle, les neuf femmes forment ici un chœur pétri de douceur qui, à l’instar d’Antigone, s’oppose à la brutalité arbitraire du pouvoir en place. Elles font corps, tout en portant des destinées singulières, oscillant entre légèreté, incarnation et évocation. Dans un subtil équilibre clair-obscur, au bord d’un grand plan d’eau et à la lumière de la lune, leur fougue et leur joie mêlées éclaboussent l’obscurantisme pour que vacille la tyrannie.

Art du présent et du vivant par excellence, le théâtre donne ici très concrètement la parole aux héroïques messagères d’aujourd’hui, par cette ode à la Vie interprétée en dari et surtitrée en français, avec celles qui rendent hommage aux courages des insurgées, à la liberté et à la justice. Lumineux!

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The unique grain of his voice and the breadth of his musical spectrum catapulted Stephan Eicher, our national treasure, into the stratosphere of the international star system in the 1980s. Since then, this pioneering spirit has continued to expand his work beyond the mainstream. A wind of freedom blows tirelessly through his leonine hair, pushing his poetic mischief ever further, with humor and audacity as beacons illuminating his artistic journey.

Here he is alone on stage, singer and storyteller of his own odyssey.

The project was born here, by chance during a stroll that led him to the Théâtre de Carouge, whose threshold he had the foresight to cross.

A decisive first step that gave impetus to a unique creation, under the watchful eye of François Gremaud. The desire to hum a few familiar tunes with him is followed by the desire to discover the hidden side of this great man who unfolds his intimate tale with generosity, authenticity, and humor. A revival for five exceptional performances in the “mother house” of this production worthy of the dandy’s elegance, where Stephan Eicher reveals himself without artifice between the melody of words and music. Iconic!

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The opportunistic Tartuffe feigns devotion to take over Orgon’s wealthy household. A perfect chameleon, he has sniffed out the gentleman’s flaws and nestled within them. From the bosom of his protector, he begins a rise as meteoric as his sense of deception. Under the influence of the obscurantist propaganda with which the bigot inundates him, the patriarch refuses to let the poison seep into his innermost being. Then the venom takes effect, and the family implodes! “In Molière’s work, women are compasses. They fight for freedom, and thanks to them, hope serves all forms of resistance,” emphasizes director Jean Liermier. Written in 1664, Le Tartuffe offers, through the alexandrine, the poetic shift necessary to reveal an emblematic fable, resonating with our 21st century, riddled with egotism, sectarianism, fanaticism and conspiracy theories of all kinds. In a refined setting, from which the austere lines of this family corseted by the desire of Orgon – played by Gilles Privat! – stand out, Molière seems to whisper in our ears: fear, fascination, the temptation to rewrite History and the law of the strongest have always plunged a Society into suffering. Will we be hypocrites in our turn? It’s up to us.

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Married to Anna Petrovna, whose tuberculosis has doomed him to failure, and riddled with debt, Ivanov is no longer able to cope with adversity.

In four breathless acts, this ordinary man, a petty bourgeois from central Russia and a penniless landowner, sinks into a paralyzing melancholy that leads him to helplessly witness his own sinking. The comical twists and turns that toss this anti-hero between renewal and despondency will make his destiny a gripping journey through the fascinating labyrinth of the human soul. Chekhov wrote Ivanov in ten days. It was 1887, he was 27 years old, and the radicality of his brilliance permeates his first major play, where tragedy and comedy are intimately intertwined. Jean-François Sivadier, a man of the theatre with a unique style, writer, actor, and director, surrounded by veteran performers and brand-new companions, takes on this brutal and innovative version, reviving Chekhov’s incandescence.

Driven by the writing of one of the most fabulous poets of all time, his production resonates with Gustave Mahler’s quote: “Tradition is not the worship of ashes, but the transmission of fire.”

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Anyone who has attended can attest to this: the Théâtre de Carouge’s seasonal presentations do more than simply announce the festivities to come. Like the flash of color that precedes the sunset on the horizon, this event is a theatrical “green ray,” a fireworks display slipped into the interstice between the twilight of one season and the dawn of the next, the evening of small confessions about past moments and big revelations about the DNA of future programming. This final presentation of the season will be plural, hence the “s” in parentheses in the title… We will offer you an anthology of sequences culled from the past eighteen years, a sparkling glance in the rearview mirror for an escapade in words, images, and sounds, orchestrated by Jean Liermier, accompanied for the occasion by a constellation of surprise guests. Embark on a fun and spectacular journey through the life of the Theatre, behind the scenes of a creation, enhanced with anecdotes and emotions spread between 2008 and 2026. And it’s a safe bet that at the end of each of these evenings there will be a vibrant: “Welcome to the most beautiful Carouge Theatre in the World, your Theatre!!!”…

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Once upon a time, “Bluebeard” gave his young wife a set of keys that opened all the castle doors except one—which was strictly forbidden to her. The young bride broke this ban and discovered her husband’s repeated femicides.

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