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Events 19
Events 19
- Other products 19
19 products listed
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Les Petites Filles modernes (titre provisoire)
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Joël Pommerat
from Friday, 13 November 2026 to Sunday, 15 November 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
In the style of a fairy tale, Joël Pommerat imagines the encounter of two young girls bound by a friendship that defies the laws of reality and the authority of adults. Everything sets the anxious Jade and the headstrong Marjorie apart. But opposites tend to attract, and the two girls form a deep friendship that takes them to the very limits of body and mind. The playwright’s words, combined with skilful and delicate theatrical illusions, depict a world of light and shadow in which a spellbinding journey of self-discovery unfolds, free from moralising, beyond fears and nightmares. A paradoxical and nuanced ode to the creative powers of adolescence in the face of inconceivable realities.
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Une Nuit blanche
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Elina Kulikova/Dima Efremov
from Tuesday, 17 November 2026 to Saturday, 21 November 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Elina Kulikova and Dima Efremov, two exiled Russian artists and seasoned musicians, present three performances reflecting on the Russian war in Ukraine through music and autobiographical fiction: an act of resistance that turns art against culture, when the latter serves as a vehicle for violence. Une Nuit blanche — the last part of the triptych, presented independently of the other two — is dedicated to Dima Efremov, a virtuoso queer pianist and activist. It explores forced exile, music, celebration and the militant initiatives that aid oppressed artists in Russia and help them escape. Inspired by the world of pop music, Une Nuit blanche evokes political repression and the joy that fuels resistance through music, laughter and dance. The trilogy also consists of Un Champ brûlé, which explores Russia’s great classical and musical heritage and its relationship to violence and the current state of war — and Un Endroit perdu, which delves into folk music, and especially songs of mourning, in a performative lamentation on the desire to kill and the memory of trauma.
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Baby Teeth
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Catol Teixeira
from Wednesday, 18 November 2026 to Thursday, 19 November 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
For artistic reasons and at the request of the company, the auditorium will have its seat numbering removed—notwithstanding this seating plan.
Catol Teixeira undertakes a resolutely collective form of writing, rooted in connection, contagion and exchange, much like that shared territory, the mouth—where pleasure mingles with pain, where speech takes shape in the joyful absurdity of not understanding, when meaning eludes us or transforms. Baby Teeth is a chorus of voices, languages and gestures that echo, interact, escape, bite and transform each other.
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Un Champ brûlé
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Elina Kulikova/Dima Efremov
Saturday, 21 November 2026 15:00
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Un Champ brûlé explores Russia’s great classical and musical heritage and its relationship to violence and the current state of war.
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Un Endroit perdu
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Elina Kulikova/Dima Efremov
Saturday, 21 November 2026 17:00
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Un Endroit perdu delves into folk music, and especially songs of mourning, in a performative lamentation on the desire to kill and the memory of trauma.
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Love Under
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Salle 96, René GonzalezThéâtre Vidy-Lausanne
Mamu Tshi
from Wednesday, 25 November 2026 to Friday, 4 December 2026
Salle 96, René GonzalezThéâtre Vidy-Lausanne
A duo of dancers with a background in Krump, together with a hip-hop and soul musician of African descent, explore Black masculinity through dance and music. When the necessary examination of contemporary masculinity converges with a need to find one’s place in the face of racism or inequality, living and identifying as a man becomes anything but straightforward. Instead of resorting to blame, the choreographer and Krump champion Mamu Tshi transforms the stage into a space for sharing and self-expression, deftly navigating between vulnerability and resilience. She draws on urban music and the African-American imagination to offer a space for reinvention and healing, a “refuge where pain becomes poetry, and where wounds become stories”.
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Queen of F*cking Everything – 44 Years on Tour
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Queen of F*cking Everything – 44 Years on Tour
Erika Stucky
Tuesday, 1 December 2026 20:00
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
The iconoclastic multi-instrumentalist Erika Stucky, whose music merges yodelling, blues and jazz, revisits four decades of concerts across five continents with an original concert-performance, presented for the first time at Vidy. Celebrating the publication of a mammoth book of her photographs — exhibited in September at Images Vevey — she will share her memories of being on the road and backstage, synchronising them with songs, stories and anecdotes from her life. Part “story-singing”, part “song-telling”, this concert-performance will be accompanied by Lucas Niggli, Oli Hartung as well as a special guest, the singer Brandy Butler.
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Mi madre y el dinero (Ma mère et l’argent)
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Anacarsis Ramos
from Wednesday, 2 December 2026 to Saturday, 5 December 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Anacarsis Ramos invites his mother onto the stage. He left his hometown of Campeche, in southern Mexico, to be able to study theatre and live his homosexuality openly. She has held down some forty jobs with disarming courage. The show is a multifaceted, tender and funny account of their relationship – marked by a lack of money, an all-constraining economy, and the need to adapt to, and perform, a certain kind of life. With a biting irony which plays on the empathy of the European gaze, the mother-son duo patch things up and paint a frank and honest picture of poverty, the difficulty of understanding one another, and the joy of sharing.
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Qui c'est celui-là ?
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Salle 76, La PasserelleThéâtre Vidy-Lausanne
Qui c'est celui-là ?
Valérian Guillaume
from Wednesday, 2 December 2026 to Saturday, 5 December 2026
Salle 76, La PasserelleThéâtre Vidy-Lausanne
Convergence lines. Valérian Guillaume crossed paths with Martial Richoz, a Lausanne resident known as the “bus-man”, who used to criss-cross the city in vehicles of his own invention, following his own timetables and routes. He was eventually admitted to the psychiatric hospital in Cery, sparking a rich debate on the city’s approach to welcoming and supporting those who are different – the very city that houses a pioneering Art Brut collection. But this is not a biography of Martial Richoz by Valérian Guillaume. As a self-described “neuro-atypical”, the latter instead draws on the bus-man’s dreams, struggles and inventiveness to chart his own unconventional paths through the nets of normative normality. The project was devised for the actor Simon Jacquard, who lives with a rare orphan disease and possesses a unique, musical stage presence, and is being presented at Vidy to mark the 50th anniversary of the Collection de l’Art Brut.
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Buchettino
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Buchettino
Chiara Guidi (Societas)
from Wednesday, 9 December 2026 to Thursday, 17 December 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Step into a room with wooden beams and a bark floor, take off your shoes and lie down in one of the little beds. It doesn’t matter whether you’re young or old; let yourself be guided by the storyteller’s voice, who, as you drift off to sleep, will read to you the story of Hop-o’-My-Thumb… Do you remember the darkness of the forest? The ogre’s mistake?... An astonishing journey begins. Created over 30 years ago, this masterful and wonderfully simple production bears witness to the Societas Raffaello Sanzio’s — now simply Societas — mastery of theatrical artistry. Chiara Guidi’s stage direction evokes the atmosphere of childhood, when language was still a gateway to the unknown and human speech mingled with that of animals, ogres and other gnomes…
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Pléïades, in absentia
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Cindy Van Acker/Eklekto
from Wednesday, 9 December 2026 to Saturday, 12 December 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Performed on stage by the Eklekto ensemble, the score guides five dancers, six percussionists and forty-eight instruments to conjure up galaxies, waves and whirlwinds – and to slip into the apparent complexity of a sky or landscape spanning states of chaos and balance. For Cindy Van Acker, these choreographic scores presented to the dancers have long been a means of challenging the expected and familiar body, and of allowing movement to rediscover itself in space and sound. This time, the dance is animated by a major work for percussion by Iannis Xenakis, an immersive piece with multiple rhythms and resonances.
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Phèdre !
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Phèdre !
François Gremaud
from Monday, 14 December 2026 to Thursday, 17 December 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
The 600th! To celebrate over 600 performances of Phèdre!, which began as a classroom production commissioned from François Gremaud five seasons ago and has since taken actor Romain Daroles to many of the most important French-speaking stages, this lively monologue—entirely dedicated to the joys of theatre—is being revived for two nights. Phèdre! shares the wonders of Racine’s alexandrine verse and the infinite depths of tragedy with a rare sense of complicity. Like the classical heroine, the stiff-necked lecturer Romain Daroles is swept away by his fervent emotion, as his words express the irrepressible passion of both the tragic lover and the theatre actor.
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Croire aux masques
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Salle 23, Studio de répétitionThéâtre Vidy-Lausanne
Romeo Castellucci
from Saturday, 16 January 2027 to Sunday, 17 January 2027
Salle 23, Studio de répétitionThéâtre Vidy-Lausanne
Croire aux masques invites a small group of audience members to enter an exhibition space. Fifty masks have been designed for this performance, and each one is intended for a single spectator. Faced with the objects on display, art, history and culture mingle dizzyingly. There is no ancient art, only fresh perspectives, this curious situation seems to suggest. But what do these gazes do? Should we believe the masks, or that which we cannot see? Romeo Castellucci, a theatre and opera director, also creates performances — like satellites orbiting his theatrical work — which, in spite of their apparent simplicity, disconcertingly and enigmatically explore our expectations of art and our capacity to see beyond forms.
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FAUST
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Romeo Castellucci (Societas)
from Saturday, 16 January 2027 to Friday, 22 January 2027
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Faust, now an old man, dreams only of power and possessions. In Faust II, Goethe, that “forerunner of modernity”, made him the archetype of a man consumed by a thirst for domination in a society that has lost its moral compass and its access to beauty. Romeo Castellucci does not simply illustrate Goethe. Here, Faust becomes a kind of bacterium immersed in contemporary society, as the theatre watches him grow. What is this desire for power, this will to control, this unconscious drive to exploit that betrays us? Romeo Castellucci’s iconoclastic and unsettling theatre, with music by Scott Gibbons, confronts the paradoxes and enigmas of our confused world with striking stage images.
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Médias, écologie, démocratie: comment tisser un autre récit?
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Salle 96, René GonzalezThéâtre Vidy-Lausanne
Anne-Sophie Novel
Thursday, 21 January 2027 19:00
Salle 96, René GonzalezThéâtre Vidy-Lausanne
Dans le cadre de la conférence "2040, j’y vais !", Anne-Sophie Novel nous emmènera dans un voyage pour ouvrir et déplacer notre regard, avec des exemples concrets pour "réensauvager" nos modes de vie.
Elle questionnera aussi notre mode d’information et nos récits et abordera la question de "l’écologie de l’information" : comment produire une autre information sur l’écologie et la transition ? Comment choisir et utiliser des informations qui nourrissent un débat public apaisé et favorisent l’action ?
Elle fera un état des lieux de la situation actuelle du traitement de l’écologie dans les médias, avant d’aborder le journalisme de solutions, une démarche qui complète l’investigation classique en documentant de manière rigoureuse les réponses aux problèmes et leurs conditions de reproductibilité. En mobilisant cette "grammaire du possible", elle nous montrera comment informer autrement, en conjuguant lucidité et ouverture vers l’action.
Avec la participation également de Jean-Philippe Ceppi, journaliste, qui a incarné et dirigé pendant vingt ans le magazine d’information Temps présent à la RTS, tout en étant référent déontologie de la chaîne. -
Eternity
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Susanne Regina Meures / Florentina Holzinger
Wednesday, 27 January 2027 19:30
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
In Eternity, Susanne Regina Meures brings Florentina Holzinger’s multifaceted performative world to life within the surroundings of a vanishing landscape. In keeping with the artist’s past work, a group of women come together to create a utopian space. Here, they retreat to the Rhône Glacier in Valais to celebrate a “last summer”. How can we become one with a dying planet?
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L'Affaire L.ex.π.Re (elle expire)
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Métilde Weyergans/Samuel Hercule (La Cordonnerie)
from Thursday, 28 January 2027 to Sunday, 31 January 2027
Salle 17, Le PavillonThéâtre Vidy-Lausanne
“She dies, my Lord!” is the final line of Phaedra, the tragedy by Racine. In a strange twist of fate, this line will bring together the lives of Natacha, an actress playing Phaedra on tour, and Max, a solitary outsider at a loose end. Their lives are polar opposites, and yet their respective lonelinesses echo one another… L’Affaire L.ex.π.Re is a unique cinematic and theatrical experience with live music and sound effects: whilst one half of the audience follows a tragic day in Natacha’s life, the other sees Max receiving a strange parcel. The perspectives then switch, but the music and sound effects remain the same… And so begins a dizzying narrative treasure hunt with whodunit undertones… Don’t forget, reality doesn’t exist — it’s all a matter of perspective…
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Le vrai visage de la pluie
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Salle 76, La PasserelleThéâtre Vidy-Lausanne
AbSTRAL compost (Jonathan Dumani)
from Friday, 29 January 2027 to Thursday, 4 February 2027
Salle 76, La PasserelleThéâtre Vidy-Lausanne
Jonathan Dumani, also known as the rapper and poet AbSTRAL compost, travelled to Latin America on a quest for his buried family roots. In a book published by Éditions La Veilleuse in 2024, he mapped out the reverse America he discovered through a series of encounters and detours. This hybrid text oscillates between a coming-of-age novel and a hallucinatory inner monologue, carried by a lively, syncopated literary flow. That book has now been adapted into a show performed by the author himself: a living journey through memories of exile, self-discovery and worlds of possibilities.
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Silence
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Mathilde Monnier / Lucie Antunes
from Tuesday, 2 February 2027 to Thursday, 4 February 2027
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Choreographer Mathilde Monnier transforms Lucie Antunes’ concert into a trance-like experience with six female dancers. A drummer and percussionist trained in both classical and contemporary styles, Lucie Antunes is a pioneer of new sonic horizons. Her music explores the rhythms and physicality of sound, and their combined ability to captivate the mind and reach new forms of perception. Mathilde Monnier merges dance with music, moving between meditative slowness and frenzy, accelerations and descents, inspired by the rhythms of nature and the body…
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