The third part of the Trilogie de la guerre takes on a more active, militant dimension. Une nuit blanche, set to electronic music, takes its inspiration from the accounts of Dima Efremov’s activism, leading to the freeing of numerous political prisoners in Russia. The piece links clandestine spaces of celebration to that of the theatre, as a place of resistance and refuge. What does electronic music enable us to express or set free, in the face of war, repression and the traumas it breeds?