La création de ce spectacle est le fruit de la rencontre entre deux danseurs et circaciens marocains, Hamza El Alouani (Roue Cyr et manipulation d’objets) et Chaouki Amellal (Roue Cyr, danse et accrodanse).

Ensemble, ils explorent les rêves et émotions qui les habitent dans un dialogue corporel entre cirque, danse et manipulation d’objet. Ils retracent ainsi le parcours initiatique de deux amis d’enfance, leurs rencontres et leurs rêves d’ici et d’ailleurs. Ils proposent une esthétique géométrique où le cercle symbolise le portail vers plusieurs univers imaginaires et où le jeu est la clé pour les traverser.

La roue qui tourne ne rouille pas.

Un besoin d’action par peur d’immobilité, par peur du rien, par peur du vide. Mais jusqu’où pouvons-nous continuer comme ça ?
La Roue est en mouvement perpétuel, comme une hypnose.

L’engrenage est lancé. Une marche continue qui se déverrouille petit-à-petit pour finir dans une giration à 360°.
Un jeu, une course contre la montre, la Roue est lancée.

Par peur de passer à côté, on l’attrape en pleine volée. On dit d’une roue qui tourne, qu’elle ne rouille jamais.
Qu’il faut la faire tourner, encore. Toujours. Mais pourquoi ? Par peur de l'immobilité ? Du vide ? Du rien ? Par peur de passer à côté ? Alors, on l'attrape à pleine volée !

De son mouvement perpétuel, Roue Giratoire nous entraîne au coeur d'une danse de l'instabilité. À chaque instant, l'équilibre est menacé, le mouvement devient une nécessité, un langage, un art. Entre performance physique et poésie du vertige, ce spectacle pour une circassienne, un musicien, une roue et son manipulateur hypnotise petits et grands par la virtuosité et la grâce de ces gestes circulaires.

Imaginez un étal de marché peu ordinaire...

Un poivron poivrot, des tomates acrobates, des taupes chanteuses de rap et bien d’autres artistes en herbe.

Ces végétaux spectaculaires prendront vie sous la direction d’Andrée Kupp, dresseuse et montreuse de légumes. Mais pas de salade, 3 comparses manipulateurs sont cachés sous le stand.

Ces légumes vous livreront des secrets dans un tourbillon de danse, de musique et de galipettes et sèmeront du rêve dans vos jardins.

Fantaisistes, poétiques, décalés, drôles, Les Zanimos tiennent un stand très particulier.

Ils enchantent les enfants et font rire leurs parents.

5 characters roam the public space. They are sometimes funny, sometimes poetic, but always in a burlesque universe. With a zany sincerity, they don't take today's world seriously. Perhaps for a better future? Hurluberlus is a brass band that really gets things going.

Through an artistic exploration combining intimate writing, stand-up and musical cabaret, this show invites deep reflection on sexuality and pleasure.
Revealing statistics underline the persistent orgasmic gap between the sexes, and essays highlighting the realities of women's sex lives teem with the desire to create new erotic schemes through humour, sensitivity and storytelling. Where taboos come down, discussion comes alive and ‘Jouir’ asks: why this orgasmic gap? Can we reinvent our erotic patterns? And, above all, is it really that important to come? 
Based on the story of one woman's quest for orgasm, which mingles with that of the other performers in the play, the audience is caught up in a frenetic whirlwind in which orgasm is revealed in all its splendour and diversity.

Upstairs, a fight in the little ones' bedroom and a pregnancy test in the privacy of the bathroom lead brothers and sisters to meet at the Sibling Council, where they start discussing home education, abortion, psycho-genealogy and other children's issues... Except that at the dinner table, between blunders, jibes, cigarette breaks and a surprise visit from the grandmother, everything comes out in the end. For the first time, the Sibling Council becomes the Family Council...

When Typhus talks to the actor about his desire for a child, he has no choice but to fulfil his wish... in his own way. But in this game of Russian dolls, who controls whom? Who raises whom?

The show explores the relationship between the actor and his character. The social man confronts the unfiltered clown. It's about education, transmission, safeguards, free will, self-censorship and social oppression. But above all, freedom. To build or preserve.

Le risque existe; partout, tout le temps. La prise de risque donne une saveur toute particulière et
colorée à notre vie. Elle est pleine de vertus et nous amène à réfléchir sur nos actions et nos interactions avec les autres.

Nous entendons parler de ce qui fait corps, de nos liens et de ce qui fait culture entre les humains, à travers le rassemblement.

Conçu comme une expérience à partager, TAWA est un vent puissant, une ascension fulgurante vers une apogée où les explosions de couleurs font référence aux grands phénomènes naturels imaginés ici comme un exutoire. TAWA mêle voltige aérienne, acrobatie et musique live, une véritable performance physique et artistique à 360 degrés haut en couleur !

Both sunny and dark, LGMX's sound takes you on a journey between the soaring harmonies of house, the industrial gallop of techno and the acidic, interlocking textures of psytrance.

They arrive at the rhythm of the water, you could almost think that they are imposing their rhythm on the water. They have come a long way, perhaps a long time ago, together. The show will take place here, on this raft, stable, small but sufficient, if it floats to the end, to the final salute.
It's about to start, soon, but not just yet, there are still a few important and insignificant preparations to be made. ... it tells of instability, of the great need to hold on and support oneself. The peaceful appearance of inner storms. The need to stay the course when everything wavers under the weight of uncertainty.  It's circus, it's risk, it's humidity and it's humanity.

De l'origine du monde began as an investigation into parenthood in 2020. Drawing on a multitude of testimonies collected from people of all ages, personal archives, and literary, scientific, audio and statistical material, a first triptych of ephemeral shows was created, which in turn questioned the words of women, men and the begotten.
At the heart of this fourth and final instalment, the authors are leaving documentary theatre behind. Somewhere between an admission of powerlessness to find satisfactory answers, an attempt to pooh-pooh social injunctions, reverie and a nightmarish party, Charlotte and Raphaëlle enter uncharted territory. Like butterfly hunters, they set off into the cosmic meadows of their unconscious, in search of their own intimate words about parenthood.

A prisoner dreams of escaping. He plays games, invents a friend and an imaginary language. Melancholy memories of revolutionary songs and a better world come flooding back. Caught between nightmare and reality, deep in his cell, he relives his past. Caillasse plunges us into the history of rebels of all eras, the throwers of paving stones, pebbles and caillasse. With a delirious and corrosive sense of humour, the two artists combine acting and acrobatics, a cappella singing and scrap metal percussion in a show with a gritty universe where mischief and poetry are omnipresent.

L'Armoire Polyphonique is an old cupboard forgotten by the side of a road or on the pavement of a street, on the grass of a park or deep in a forest. On its door is a sign saying ‘Open up to me’. When the door opens, the three polyphonists come to life, performing one of their compositions with joyfully anachronistic lyrics, then they close the doors again. L'armoire polyphonique is a musical impromptu, like a human-sized music box. 
This light-hearted, offbeat show features polyphonies by composer Gustave Carpene. These songs, originally performed in videos broadcast online, are modern and humorous re-visitations of early vocal music. Academic compositions with contemporary and trivial lyrics.

The mission of these philosophical cabarets is ‘to advance thought lest it retreat, to stigmatise reflection so that it opens up new horizons for humanity’. Convinced that humanity will disappear if nothing is done, Stéphane Giblot, Daniel Sponkdatahunter and Roland Gerbier are self-proclaimed philosophers. Together, they founded Il est déjà trop tard, a magazine that seeks and ultimately finds solutions to the problems that plague us. Between the ramblings of language and the poetry of the absurd, the audience is invited to enter the house of thought...

An interactive slam show in which Arthur Ribo, a virtuoso of the spoken word, improvises with the audience. Accompanying him is a multi-instrumentalist composer who creates the musical colour for the stories that unfold before our eyes. It's a playful work that revisits all musical genres.

Everyone can become an actor in this show. The stage becomes a vast, inclusive playground. With very little, just his warm and natural complicity, this pierrot lunaire takes the audience on a little cloud of tender and elegant naivety.