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Events 32
Events 32
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32 products listed
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Último helecho
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Nina Laisné/François Chaignaud/Nadia Larcher
from Friday, 19 June 2026 to Saturday, 20 June 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
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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Delta – La porte de la fin du confort
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Delta
from Wednesday, 1 July 2026 to Thursday, 2 July 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Delta is an artistic training programme designed for young people who are atypical, disabled, neurodivergent or who come from difficult backgrounds. Throughout the season, the Théâtre de Vidy will host these young artists in the making who, accompanied by professional artists, will explore theatre, dance and singing, culminating in a show devised with Mamu Tshi, a leading figure on the international krump scene.
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En Sicile
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Jeanne Balibar
from Thursday, 24 September 2026 to Saturday, 3 October 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
based on the text by Juliette Blamont
Theatre in the field: the audience gathers on a farm, looking at a rural landscape. Here, actors and witnesses share their different perspectives and ways of understanding this landscape. Through the attuned listening to the soil by a couple of passionate scientists, the perspective of an NGO director involved in agricultural and ecological policies, the testimony of a local farmer, and the analysis of bird song by a bioacoustician, the field becomes a stage where lives and expertise are shared. Stretching out for hundreds of metres, it then comes into focus as a space that is both natural and cultural, interwoven with knowledge, emotions and contradictions, preparing the ground for new possible alliances.
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The Smallest Things
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Salle 76, La PasserelleThéâtre Vidy-Lausanne
Marc Oosterhoff/Owen Winship
from Thursday, 24 September 2026 to Thursday, 8 October 2026
Salle 76, La PasserelleThéâtre Vidy-Lausanne
A group of friends has met up in what might be a rehearsal room, or a theatre between performances. For want of anything better, they improvise scenes using whatever they find in the room or within themselves. A snippet of music, perhaps the memory of a text, a broom, a trolley, the smallest thing they happen upon — all become catalysts for incongruous and acrobatic situations. Following Lab Rats, the incredible tightrope walkers Marc Oosterhoff and Owen Winship pursue their expressive and inventive exploration of the acrobatic arts. Uncertain lifts and fragile balances might well hold the key to a rock solid friendship!
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Taglit, droit du sang - Zakirat, droit au retour
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Ruth Rosenthal / Xavier Klaine (Winter Family)
from Friday, 25 September 2026 to Wednesday, 30 September 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Winter Family (Ruth Rosenthal and Xavier Klaine) are a duo specialising in experimental music and documentary theatre. Here, they continue their exploration of Israeli society by deconstructing the Zionist narrative. Taglit - droit du sang / Zakirat - droit au retour is an investigation into the trips offered to Jewish youth worldwide by an international Zionist organisation, ostensibly to discover Israel, while also encouraging them to settle there. These trips perfunctorily gloss over the tragedy and reality of the Palestinian situation. Ruth Rosenthal leads us on one of these aforementioned trips — until the actress Mayya Sanbar takes over to relate the Palestinian side of the story, shedding light on the confiscation of her country and her people’s right of return.
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Los inescalables Alpes, buscando a Currito
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
María del Mar Suárez, La Chachi
from Friday, 2 October 2026 to Sunday, 4 October 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
María del Mar Suárez, a.k.a. La Chachi, is known for her intense and deeply personal style of flamenco that honours tradition while drawing on the energy of krump, her performances verging on trance-like states. Accompanied by a singer and two flamenco musicians, who play the same piece over and over again with increasing intensity, La Chachi lights up the stage with her untamed energy, offering her body to dance as others do to medicine, in order to experience love, longing, clarity, attraction, perdition, and metamorphosis. She reinvents her performance every night: her punk dance prayer is dedicated to the burning desire to see a loved one again, and to that end, to overcome the insurmountable, to transcend the dizziness of the highest heights.
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La Simone
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Salle 96, René GonzalezThéâtre Vidy-Lausanne
Adrien Rupp
from Saturday, 3 October 2026 to Thursday, 8 October 2026
Salle 96, René GonzalezThéâtre Vidy-Lausanne
La Simone is the story of a wise grandmother, a country seamstress. This farmer’s sister shuffles with the cautious steps of a hedgehog, exalting everyday life through her discreet presence and her capacity for wonder. Her absence leaves a void, but her enveloping voice reminds us to cherish our individuality and to embrace that slowness which reveals beauty even in the darkness. Adrien Rupp here adapts for the stage a story he published in 2026 with the Éditions La Veilleuse: a portrait of a woman as an example of resistance to the alienation of this fast-paced world.
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Calentamiento (Échauffement)
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Rocío Molina
from Saturday, 10 October 2026 to Sunday, 11 October 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Calentamiento is the warm-up before the dance. Regarded as the leading figure of contemporary flamenco, Rocío Molina is a virtuoso, radical and free-spirited artist who wields dance like a scalpel, laying bare the raw, intense inner workings of bodies, emotions and life. In this show, she displays her training, the tabla de pies (footwork scales), the strict discipline, mingled with sweat and the rising tide of desire, in a physical encounter with the infinite. She then invites a dancer and master of the compás, along with four Gypsy singers, for a liberating flamenco experience, an endless celebration of energy, desire, dance and song.
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Dear Luigi, I Hate You
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Collectif Dreams Come True
from Wednesday, 28 October 2026 to Sunday, 1 November 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
The Dreams Come True Collective (formerly the Cie Yan Duyvendak) creates theatrical installations designed to explore thought-provoking contemporary social mechanisms. In Dear Luigi, I Hate You, a restorative justice process is applied to a murder case, inspired by the 2024 murder of the CEO of a major American health insurance group by Luigi Mangione. This speculative fiction imagines a fictional encounter between the shooter and the victim’s widow, facilitated by real-life restorative justice practitioners and the novelist Adèle Yon. This project highlights the complexity of conflicts, the importance of listening, and the fragile yet essential possibility of dialogue as an alternative to punitive justice.
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Lettre au père
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Salle 96, René GonzalezThéâtre Vidy-Lausanne
Émilie Charriot
from Wednesday, 28 October 2026 to Sunday, 8 November 2026
Salle 96, René GonzalezThéâtre Vidy-Lausanne
In this solo performance, Émilie Charriot welcomes and embodies the emotional turmoil and keen criticism of Kafka’s Letter to His Father, an extraordinary hundred-page letter that was never delivered to its intended recipient. Blaming himself for much, yet also detailing his fear and the strict, borderline absurd upbringing he received, Kafka navigates tenderness and hatred, fear and rebellion in an indictment that does not shy away from the grotesque or the farcical. He is not after antagonism, but rather solace, in order to “make life and death easier for both of us”. Émilie Charriot transforms this text into a nuanced and paradoxical meditation on legacies and mentors, and what they enable or destroy.
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Questions for John
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Simon McBurney
from Saturday, 31 October 2026 to Sunday, 8 November 2026
Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Following the success of The Encounter in 2015, actor and director Simon McBurney, founder of the renowned maverick theatre company Complicité, is finally returning to Vidy. Even though John Berger has passed away, Simon McBurney still has questions for him. They knew each other well: they spent time in each other’s company and exchanged ideas for over 25 years. In the face of war, exploitation, the search for solidarity, and knowledge that struggles to metabolise into action, what has become of the bonds that unite us? Why do we destroy what we love? And what can art do today?
Simon McBurney is an enthusiastic and alert storyteller – no one else knows better than he how to blend narratives and technology, images and movement into embodied, living words. Alone on stage, the British actor questions his former kindred spirit, John Berger. And so we are invited to step into a space for questions and poetry, where the present stands still, swarming with questions – and our desire to act is revived with a fruitful power.
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Lecture "Et nos visages, mon cœur, fugaces comme des photos"
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Salle 76, La PasserelleThéâtre Vidy-Lausanne
John Berger par Valerio Scamuffa
Friday, 6 November 2026 18:30
Salle 76, La PasserelleThéâtre Vidy-Lausanne
Lecture d’extraits d’un livre singulier de John Berger, texte littéraire dérivant entre prose et poème, confessions et méditation sur l’art, l’amour, le déracinement, le temps, l’absence.
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Mali Futur Live
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Rimini Protokoll /Vidy / Les Praticables
from Saturday, 7 November 2026 to Sunday, 8 November 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
On the Vidy stage, a griot musician plays the kora and a sampler, scoring in real time a film which is being shot live in Bamako. We follow the Malian actors Diarrah Dembélé and Kassim Dagnogo as they travel through the Malian capital on foot or by motorbike, filmed by Alfousseny and Souleymane Konaté. These visionary investigators are filming a live sequence shot, between documentary and science fiction. Permeable clay soils, medicinal plants, resilient solutions and solidarities coexist with fuel shortages, Chinese interference and an unstable democracy… What if the future already existed elsewhere? An exhilarating musical road trip, in search of possible futures.
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Lecture "Tu sais ce que je regarde?"
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Salle 76, La PasserelleThéâtre Vidy-Lausanne
John Berger / Katya Berger-Andreadakis
Saturday, 7 November 2026 18:30
Salle 76, La PasserelleThéâtre Vidy-Lausanne
Lecture chorale suivant quelques traces d’animaux dans l’œuvre de John Berger.
Une proposition de collage de textes par Katya Berger-Andreadakis, lue par Jacob Berger, Katya Berger-Andreadakis et Yves Berger
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Les Petites Filles modernes (titre provisoire)
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
Joël Pommerat
from Thursday, 12 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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Ravage tout court
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Salle 17, Le PavillonThéâtre Vidy-Lausanne
Adeline Rosenstein
from Thursday, 12 November 2026 to Saturday, 14 November 2026
Salle 17, Le PavillonThéâtre Vidy-Lausanne
Five actresses, an empty stage and 250 years of history: Ravage tout court sets out to explore Europe’s recurring involvement in the history of Palestine, or how Palestine and the events unfolding there concern us here in Europe — as we attempt to extricate ourselves from beneath the anvil of current events and set our bodies in motion through embodied reflection. Eight years after Décris-ravage, a sprawling documentary-performance (Vidy, 2016), this “impatient”, active and precise version recounts the history of empires and imperialism, of alliances and betrayals, of weaponised hatred and contempt for peoples. All with the same critical mind, brilliantly sharp syntheses and artful performance, carried by the enthusiasm and triumph of resistance.
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Trilogie de la Guerre, Dernière partie - 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
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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Trilogie de la Guerre, Première partie - 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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Trilogie de la Guerre, Deuxième partie - 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 *cking Everything – 44 Years on Tour
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Salle 64, Charles ApothélozThéâtre Vidy-Lausanne
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
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
Chiara Guidi (Societas)
from Wednesday, 9 December 2026 to Sunday, 13 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
François Gremaud
from Tuesday, 15 December 2026 to Wednesday, 16 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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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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