Pierre Boulez

A mixture of solos, duos and trios, collage, mobile, and sound sculpture, Chroma scatters instrumental ensembles, turntables and dozens of music boxes across the space. Listeners are invited to wander around these living and mechanical islands, each a source of limitless perspectives, whilst the Grand Palais in turn shapes the work and makes it unique.

After presenting in 2024 and 2025 the first two chapters at La Villette, this year the Festival d’Automne presents the third chapter, as well as complete works of the trilogy in conjunction with the Odéon Théâtre de l’Europe.

In this first part of Trilogia Cadela Força, writer and director Carolina Bianchi explores, through the staging of her own body, the ways in which theatre and artistic performance have tackled narratives dealing with sexual violence.

In this second chapter, Carolina Bianchi and the Cara de Cavalo collective immerse themselves in the complexity of all-male pacts in the world of theatre, in addition to their possible origins and codes—all too often part of a framework of violence, in which rape and sexual violence become a language.

Carolina Bianchi unfurls the final chapter of Cadela Força, thereby bringing to a close this multifaceted trilogy. The latter takes the form of a critical exploration of language, the history of art, theatre and authorship in terms of their relationship with sexual violence and patriarchy. Far from drawing any conclusions, the Brazilian playwright opens up new avenues for reflection.

With Faust, Romeo Castellucci once again tackles one of the founding myths of our Western culture. In it, the Italian director becomes an architect of chaos, a means of embracing, to the full, the contradictions of our contemporary world.

Prior to its first performances in 2027, Back to Back Theatre invites audiences to discover the different phases of work behind NEANDERTHAL—Histoire(s) du théâtre VIII by being present during its rehearsals. This ambitious new piece looks into the themes of extinction and cognition.

Set to music by the Australian trio The Necks, FOOD COURT plunges a woman headlong into the all-too banal horrors of a humiliating experience in the public space. Featuring a cast of three female performers with learning difficulties, the piece transforms into an experience of an intense, unsettling kind.