The festival is organised in close collaboration between three major performing arts venues: Théâtre Vidy-Lausanne, Arsenic and Théâtre Sévelin 36. They have developed a shared programme that will take place over two weeks and will give spectators the opportunity to circulate easily between the different venues and artistic works. To encourage dialogue with Swiss artists, the festival will hold artists’ salons each Saturday where selected Swiss companies will be able to present their future projects.
For international programmers and curators, Programme Commun offers to organize the stay in Lausanne including show schedules, accommodation and meetings with artists and programmers. Please consult the website for booking and related information.
Among the eighteen shows and performances on offer, there are the following ten exciting works by Swiss artists:
«Imposture posthume» by Joël Maillard / Cie SNAUT, Arsenic, 26-31 March
In the more or less distant future, humanity has returned to new beginnings, following a global digital collapse which has erased all traces of the 21st century. The discovery of an ancient manuscript by Joël Maillard, dated 2099, will revive this lost memory thanks to regenerative medical experiments.
«Pièce» by Gremaud / Gurtner / Bovay / 2b Company, Théâtre Vidy-Lausanne, 22-31 March
«Pièce» is a play about a play being played, in which actors play actors acting. The Lausanne-based collective makes use of their keen sense of play and of the absurd to document the subtle and myriad relationships that unfold between humans when they gather together.
«Cécile» by Marion Duval, Arsenic, 20-31 March
When Marion Duval met Cécile Laporte – who devotes herself to improving the lives of others, as author, ecologist, porn-activist, specialist in therapeutic psychotropic drugs, spokesperson for squatters’ rights and defender of rights for migrant people – she decided to put her on stage in this reality performance.
«Granma. Les trombones de La Havane» by Stefan Kaegi / Rimini Protokoll, Théâtre Vidy-Lausanne, 28-31 March
What has the revolutionary ideal become since the death of Castro? Stefan Kaegi documents a unique historical situation – that of a revolution in the midst of being redefined – through the testimonies of four young Cubans and their family stories.
«The Wide West Show!» by Johannes Dullin / Ariel Garcia / Gregory Stauffer, Arsenic, 28-31 March
In this clownish interpretation of Buffalo Bill Cody’s Wild West Show, the trio embodies the aging figures of three white men off to conquer the world. The show humorously critiques our modern age’s obsession with productivity, efficiency and deadlines, of which the clown here becomes the parodic figure.
«Such Sweet Thunder» by Tobias Koch & Thibault Lac, Théâtre Sévelin 36, 28-29 March
Musician Tobias Koch and dancer Thibault Lac come together at the border where concert, performance and sound installation meet, searching for a space-time beyond fiction and reality. «Such Sweet Thunder» plunges into a surreal world, inhabited by a multitude of voices, fragments of narration and altered body states.
«Un Peu Squeeze» by Gilles Furtwängler, Arsenic, 29-30 March, 6-7 April
The author and visual artist Gilles Furtwängler extracts poetry from the cracks of contemporary language through a collage of found and personal material, collapsing urban slang, neologisms, rhymes, bad translations, puns and oxymorons. «Un Peu Squeeze» is an exhibition that will also welcome a performance on four dates.
«Chro no lo gi cal» by Cie Yasmine Hugonnet, Théâtre Vidy-Lausanne, 3-4 April
Yasmine Hugonnet’s dance is made up of a serene and sensitive attention to movements within the body which transform perception. Between dance and ventriloquism, «Chro no lo gi cal» is an invitation to an inner journey that plays with time and its dimensions.
«Maintaining Stranger» by Simone Aughterlony, Arsenic, 4-7 April
In a gigantic installation featuring an artificially cultivated rocky desert, supporting characters who seem plucked from different castings encounter each other as strangers. In this artificial wasteland, they face their insignificance and sketch out intimacies that do not claim to be intimate.
«Black Off» by Ntando Cele, Théâtre Vidy-Lausanne,
Bianca White walks onstage with her blonde wig and her «whiteface», stating that she dreams of a white world where everybody could overcome their «internal and external blackness» … until the arrival of Vera Black, her uncontrollable double. By inverting the blackface trope, Ntando Cele denounces everyday racism with ironic humour.
(see picture at the top)