Back to Back Theatre

Filmed by means of a circular mechanism, RADIAL brings us a portrait of a community in motion. It is equally attentive to the collective whole as it is to the individualities of those that compose it. This in situ creation celebrates and brings together different artistic communities from the Paris region.

GANESH VERSUS THE THIRD REICH, a fable of a droll and moving kind, interweaves two narratives in order to prompt us to examine our perceptions of theatre and handicap. In it, the elephant-headed god travels through Nazi Germany, while the performers ask themselves questions about the pertinence of telling this story. 

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.

At the crossroads between urban thriller, social satire and voyeuristic meditation, small metal objects plunges its performers into the perpetual movement of the public space. From within the heart of the crowd, the piece captures all the intensity of a personal drama.

In 2023, the Brazilian director, writer and performer Carolina Bianchi premiered the first chapter of Trilogia Cadela Força (Trilogy of Bitches) opening up a new chapter in the recent history of contemporary theatre. These works weave a tapestry of a complex nature, used as the basis for exploring the links between sexual violence and their representations via the history of art. The result of eight years of work, this process makes tangible the tension between the search for a language capable of conveying its complexity and the violence inherent in artistic creation. In doing so, it sheds light upon the difficulty of giving shape to what remains fundamentally enigmatic.

After tackling sexual and gender-based violence, in her new work The Brotherhood, Carolina Bianchi turns to the issue of so-called boys clubs in the world of art and theatre. How does this male solidarity shield perpetrators of sexual assault? What is the influence of these power structures on artistic creation?

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.

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.