Anne Teresa De Keersmaeker ROSAS & B'ROCK ORCHESTRA

In collaboration with the choreographer and dancer Radouan Mriziga, the challenge taken up by Anne Teresa De Keersmaeker is to make Vivaldi's Four Seasons heard, using the tools of dance to hone the way we listen to this baroque masterpiece. Under the auspices of abstraction, the resulting alliance reconnects with the imaginary ecological world that is conjured up by this famous concerto.

As part of a special invitation by the Festival d'Automne, choreographer Anne Teresa De Keersmaeker and director Rabih Mroué shared, over the course of ten months, their thoughts, concerns, doubts, and questions regarding politics, art and life. After numerous exchanges by videoconference, the two artists now come together on the site of the former industrial complex, the new home of the Fiminco Foundation. Together, for the duration of a performance, they will be drawing up the plans for a new world for all.

Sorour Darabi, the Iranian choreographer, who has been living in France since 2013, unveils his first opera, an ambulatory performance which enables voices marginalized by ancient myths to be heard. It is a piece devised by and for committed bodies.

Like descending into the darkest depths of hell, Carolina Bianchi exposes the unspeakable horror of sexist violence, plunging us into a median space in which all memory becomes blurred. Following in the footsteps of the artist Pippa Bacca, she uses her own body for the purposes of the piece, thereby anchoring herself in the history of feminist performance, and casting a critical gaze upon it at the same time.

Brought to the stage by visual artist Théo Mercier, Skinless is a disenchanted Eden built on a landscape of rubbish. Amidst this XXL end-of-the-world panorama, an out of the ordinary couple loves and tears each other apart under the watchful eye of a tragic observer.

Directed by Romeo Castellucci, Gustav Mahler's Resurrection symphony seems to take on all its tragic grandeur. Masterfully conducted by Esa-Pekka Salonen, the Italian director magnifies this monumental work in order bring us a funereal “song of the earth” from which nobody emerges unscathed.

Following on from the Portrait dedicated to her by the Autumn Festival two years ago, Marlene Monteiro Freitas hijacks the match: twenty-five virtuoso performers, each wearing the same number 3 vests, throw the score into disarray, measure themselves against the grotesque and warp the game. This show sees the eccentric choreographer passing on to the Lyon Opera Ballet a jousting match of hybrid times, a carnivalesque fresco in which the human, animal and machine have a tendency to merge.