Robyn Orlin

On a street corner, when a life is upended and the sky loses its bearings: Robyn Orlin’s seminal solo, originally created in New York inside a cardboard box, is now revived by a performer whose own journey brings a new perspective to the work. Following revivals with Nadia Beugré in 2022 at the Festival d’Automne and with Marta Izquierdo Munoz in 2024 at La Place de la Danse, Robyn Orlin entrusts the interpretation in 2025 to Volmir Cordeiro.

Thirty years after it was first performed, the South African visual artist William Kentridge and the Handspring Puppet Company breathe new life into their Faustus in Africa! Behind its nostalgia-inspired aesthetic, this irreverent reinterpretation of Goethe is as relevant as ever.

Brazilian choreographer Lia Rodrigues returns with Borda, a new piece that marks and celebrates the 35th anniversary of the Lia Rodrigues Companhia de Danças, a company that set up its home in the Maré favela in Rio de Janeiro in 2004. 

With their long tradition of conferences, debates and dialogues on ideas, the Centre Pompidou and the Festival d'Automne have come up with a new format: a popular Evening School, open to the imaginations, works and questions of the 2025 edition. To think about community, Felwine Sarr proposes first of all to reflect on a cosmopolitics of hospitality, in conversation with the American philosopher Judith Butler.

Athens, Marseilles, Marrakesh, Paris; Isavella, Giannis, Elias, Philippe, Mustapha, Smaïne, Hedi, Mia, Lucas; Al Assifa, Al Halaka, Djellali Kamal, Mririda n’Aït Attik; today and yesterday, from the 1970s to the 2020s: Bouchra Khalili brings together all these places, experiences, voices, and moments in her multi-site, multidisciplinary project entitled Astérismes (Fig. 1 to 3).

Pascal Rambert, a major author and director of his generation, finds himself once again in the company of his faithful companions in an ambitious fresco dealing with the passage of time and family ties. Intended as a trilogy spanning five years, it explores what is left behind by our commitments and ruptures.

In this latest creation by American director Faye Driscoll, she confronts us, to dizzying effect, with a sensory whirlwind. Weathering choreographs our bonds of reciprocity and seals a destiny which is of a necessarily common nature.

Following on from Romances inciertos, another Orlando, Nina Laisné and François Chaignaud extend their utopic fusion of dance and music based on South American repertoires. In the company of the Argentinian singer Nadia Larcher, they compose a cosmogonic universe in which voices resonate with the breathy sound of the sackbut and zapateo rhythms. 

The meeting between Marlene Monteiro Freitas and Israel Galván feels inevitable, albeit belated. An invisible thread seems to connect the Cape Verdean choreographer and the Sevillian bailaor, bringing them together for a unique project. Face to face, they develop a new and immediate form of communication: a moment of pure joy and humour, an animated conversation based solely on the language of the body.

How can you find your place in a world flooded with information and digital fragments that disappear from one second to the next? At the crossroads between performance, stand-up, and a dialogue between technology and existential reflection, Vimala Pons once again questions the contemporary world by means of a deftly mischievous ballet, set to the music of Rebeka Warrior and Tsirihaka Harrivel.
 

What unites the two choreographers Nacera Belaza and Katerina Andreou is an undying urge to dance. In a diptych conceived for the Ballet de l'Opéra de Lyon performers, they respond to each other in two new works bringing together multiple resonances.