Soirée des formes courtes
The Undergrounds of the Possible
de Maya Balam Meyong
(Parvis du Grand Théâtre)
Rooted in a long-standing inquiry into human ecologies – understood here as the constellations of relationships we weave with ourselves, one another and our surrounding environment – The Undergrounds of the Possible is a site-specific, improvisation-based performance born from a desire to relearn how to inhabit time, space, and presence. Unfolding as an offering, the piece creates an experience of empathy and awareness in which dancers and musicians, together with the audience, explore alternative ways of inhabiting time and relating to one another. Poetic in form and political in its own way, the work extends an open invitation to breathe, to slow down, and to care.
Within Resonance
de Alex H. Smith
(Foyer)
You are a receiver of energy, sensing the flow of the world around you. As stimulation rises, pulling at your attention from every side, can you choose to rest? Is it possible to step into stillness without stepping out of motion? Can you find calm within the flow; rest in motion? Within Resonance invites you to inhabit this tension. Through an immersive, music-driven experience, composer and multi-instrumentalist Alex H. Smith leads you on a journey from meditative soundscapes to groove-infused classical/jazz fusion. Layers build, intertwine, and dissolve around you, inviting presence and deep listening within an abstract musical narrative. What do you discover within the resonance?
destroy me
de Yotam Peled
(Arrière-scène)
destroy me is a solo performance which proposes a ritual of disintegration, a dance of entropy, a repetition that is destined to end in nothing. Interacting with disjointed, fragmented memories and articulated cycles of movement in a bungee harness, it explores emptiness, exhaustion, deconstruction, oblivion as survival methods, rather than assimilation. The creation negotiates with the ‘Icarus Complex’, a psychological pattern that leads to an eventual catastrophic fall, often characterized by a belief in one’s own invincibility and a defiance of limitations. It redefines the collapse, within a social context, as a decision to detach from a normal course of action, rather than an accident, focusing on the nuanced, complex, poetic relationship between emancipation and self-destruction.
Safelight
de Chris Moran
(Arrière-scène)
Two strangers. A shoebox of photos. In 2003, Jamie was murdered at a gay cruising site in Dublin. In 2023, his brother John re-stages Jamie’s photographs with the help of Lucas, a queer Brazilian immigrant. But the Dublin in Jamie’s photos has changed – and with the outbreak of the Dublin Riot, John and Lucas question if they are truly looking at the same city. Superimposing past and present, Safelight is a darkly poetic two-hander about memory, chosen family, and the limits of empathy in the face of rising far-right violence in Ireland today. Previously supported by The Arts Council of Ireland, Scene+Heard Festival, Backstage Longford, Pavilion Dún Laoghaire, Emma Rice Company, Irish Queer Archive, and photographer Brian Teeling.
