CUT is a dance piece that stems from a particular stage device as well as from the audience’s position. Philippe Saire literally cuts the audience and the stage in two and establishes a very unusual relationship between the audience and the performance. The audience are presented with two distinct sides..



Coproduction Théâtre National de Chaillot, La Bâtie-Festival de Genève 25 min. Vacuum generates impossible images and fantastic paintings, an interplay of bodies appearing and disappearing between black holes and dazzling lights. This duo is the third part in a series of performances called Dispositifs (‘stage devices’), in convergence with visual arts...



This isn’t a militant play or a hippy play. This isn’t a play about the 70s. This isn’t a play about the history of utopia through the centuries. The simple idea of utopia arouses opinions and desires, and everyone has his own. Philippe Saire’s is deeply personal. A performance for..


NEONS Never Ever, Oh! Noisy Shadows

Premiere at Théâtre Sévelin 36 Lausanne January 17th, 2014, 40 min. A choreography for two dancers, with LED ticker displays and neon lights as only light source, NEONS Never Ever, Oh! Noisy Shadows deals with intimacy and separation, and verges on visual arts, following in the steps of 2011’s Black Out. NEONS..


La Dérive des continents

This piece is in french language. Première au far° festival des arts vivants Nyon 7 août 2013 Coproduction Théâtre Vidy-Lausanne & FAR° 100 min Une pièce théâtrale de Philippe Saire pour quatre interprètes Sur un texte original d’Antoinette Rychner, en co-écriture avec les interprètes   Ecouter l’émission: Avec La Dérive des continents, pièce..


Transfigured Night

Premiere at Opéra de Lausanne November 2nd, 2012, 55 min. The night’s delicate subtleties are followed by the crushing state of dawn. When Philippe Saire throws himself into Schönberg’s musical score, he transcends all notions of space and time, and it’s a great success. Nathalie Yokel, La Terrasse For its autumn..


Black Out

Premiere at Théâtre Sévelin 36 Lausanne November 18th, 2011, 40 min. Black Out has celebrated its 170th show in 2016 and carries on with dense touring around the world. Somewhere between dance, performance and visual arts, this dark piece presents a very unusual set that is putting the spectators above..


I wish I could believe you

Première at Théâtre Sévelin 36, Lausanne, November 23rd, 2010. Rerun 2012. Choreography for 6 dancers. Within the plot, as the numbers tick away in a persistent sequined stream, there’s another, more sombre plot. What is going on here is a conspiracy. Let’s imagine the dancers on stage as the instruments of an outrageous and..


Lonesome Cowboy

Premiere at Festival La Bâtie, Geneva, September 1st, 2009. Rerun 2012. Choreography for 6 dancers. Research on masculinity With his dancers, Philippe Saire questions the masculine identity and explores, in a playful way, how both individuals and groups function. By using play and clearly defined rules, Lonesome Cowboy approaches notions such as team spirit, solidarity, confrontation,..


Il faut que je m’absente (I really have to go now)

Première at Théâtre Sévelin 36, Lausanne, November 5th, 2008. Choreography for 5 dancers. Created in November 2008 for a three week season at the Théâtre Sévelin 36 in Lausanne, Il faut que je m’absente (I really have to go now) is the second piece in a trilogy of works about the codes..


Sang d’Encre

Première at basel tanzt 05, Basel, September 23rd, 2005. Choreography for 6 dancers. Our longing for a fantasized sense of security dictates far more than we may care to realise. If you consider fear as one of the foundations of social relations and a major motivator of our actions, then everything seems..



Première at CCN / Festival Le Temps d’aimer in Biarritz (F), September 16th, 2003. Choreography for 6 dancers. With [ob]seen, Philippe Saire reflects upon the limits within which audiences feel at ease. What is it desirable to reveal, what is better hidden ? Where does modesty end, indecency begin ? Today the rule is..


Jour de fuite

Première at Théâtre Sévelin 36, March 5th, 2003. A solo performance by Philippe Saire. Philippe Saire returns to the stage. In his new work, where he is also the dancer, Philippe Saire confronts, for the third time, the challenge of the solo performance. This choreography mirrors our times : each one of..


Les Affluents

Première at Centre Chorégraphique National de Franche-Comté, Belfort (F), September 21st, 2001. Choreography for 8 dancers. In 2001, Philippe Saire and the Company’s eight dancers created two new productions. The two works are each a part of the same self-ques-tioning process, an interrogation into identity, restlessness, risk-taking, and the difficulty of asserting..



Première at Théâtre Sévelin 36, May 9th, 2001. Soli for 5 or 8 dancers. In 2001, Philippe Saire and the Company’s eight dancers have been working on two new productions: Impostures and Les Affluents. The two works are each a part of the same self-questioning process, an interrogation into identity, restlessness, risk-taking,..


La Haine de la Musique (The Hatred of Music)

Première at Luzernertheater, Lucerne, May 6th, 2000. Choreography for 10 dancers. Inspired by Pascal Quignard’s book “La Haine de la Musique”.  “To keep slaves, one needs the most music possible.” (Tolstoy) A performance about music, not a choreographer’s private thoughts on a particular musical work, but rather an investigation into my personal..



Première at Théâtre Municipal de Lausanne, January 24th, 1999. Choreography for 9 dancers. The legend. Retelling the story of Faust – which along with Don Quixote and Don Juan is one of European culture’s greatest legends – is a great challenge, not only because of the sheer number of already existing..


Etude sur la légèreté

Première at Gesnerallee, Zurich, January 7th, 1998. Choreography for 6 dancers. “All of our acts, extraordinary or everyday – and particularly the everyday – whether we open a door, write a letter, offer a hand, should be done with no less care than if the fate of the world and the courses..


Petites catastrophes naturelles (Small natural disasters)

Premiere at festival Théâtres d’été in Nyon, August 16th, 1996. Choreography for 4 dancers. Small natural disasters is a return to Philippe Saire’s more narrative style. This piece is indeed a “story” that of a relationship which, because of its triangular nature, prevents desires ever being fully satisfied. As in Harold Pinter’s Betrayal, the characters’ interactions become..


Le Palindrome

Première at Théâtre Sévelin 36, Lausanne, September 26th, 1995. Triptych for five dancers, Le Palindrome is a dialogue between dance and visual arts, resulting from the collaboration between Philippe Saire and three Swiss artists: Francine Simonin, Carmen Perrin and Arnold Helbling. Palindrome: n., a word, verse or sentence as “able was I ere saw..



Première at Festival de la Cité, Lausanne, July 1st, 1994. Choreography for 5 dancers. La Nébuleuse du Crabe, created in February 1994, was about these games-modes-rules we participate to, and which we are not conscious of. From the beginning, Vacarme has been conceived as dealing with the same topic. However, the structure, the final form, the number of performers are..


La Nébuleuse du Crabe

Première at theatre Arsenic, Lausanne, February 23rd, 1994. Choreography for 10 dancers et 2 actors. In the light of game and proliferation, the civilized man appears like a puppet, a moving toy. Between past and present, real and fake, the dancers may ask the question to know where the game..


L’Alibi et le Topographe

Première at Festival Théâtres d’été de Nyon, August 1993. Rerun at Théâtre Sévelin 36, Lausanne, April 1996. Solo of Philippe Saire. A montage of texts and gestures that can be seen as the dynamic illustration of what dance also is:  not only a machine processing emotions but also a way to draw a cartography of the..



Première at theatre Arsenic, Lausanne, November 25th, 1992. Nouvelles is very freely inspired of Marguerite Duras’ world, not as narrative, but rather because Duras “gives to see”. One could speak of reader’s impression – which is printed in the head of a reader – in the body of a dancer. What..


Vie et Moeurs du Caméléon Nocturne

Open-air première at Festival de la Cité, Lausanne, July 2nd, 1991. Rerun at Festival de la Cité, Lausanne, July 1999. The idea for this choreography has its roots in a long-held fascination for “Midsummer Night’s Dream ” – probably due to the highly choreographic character of Shakespeare’s play, and the spatial..


Don Quixote

Première at theatre Arsenic, Lausanne, October 31st, 1990. Let us leave the imagery there where it is to be found – among souvenir shops, or buried in children’s books. There, where Don Quixote resembles the images of our creation, there where we already no longer resemble our own. Let us talk about..


L’Ombre du Doute

Première at Centre culturel suisse in Paris, November 14th 1989. Show for 3 dancers and 2 screens. Besides the desire to confront the dance to another code: the projected image, L’Ombre du Doute (The Shadow of doubt) wants to be a nod to the universe of the 50’s thriller. “A woman and..


Ah! Finir…

Première at Théâtre Arsenic, Lausanne, April 13th, 1989. Choreography for 5 dancers, Ah! Finir… is a show about the juxtaposition of two passions, one sacred, the other profane, and their interferences. “This is the monstrosity in love, lady, that the will is infinite and the execution confined; that the desire is boundless,..


3 x Rien

Première complete (3 acts) at Théâtre Municipal de Lausanne, March 25th, 1988. Based on the common theme of obstruction and reminiscence, 3 acts are brought together in a show. 1st act: Rien qu’une poussière dans l’oeil  – two women and a man, première on November 12th 1987, order from the Fondation vaudoise..


Paresseux Vertiges
ou “Brefs Mouvements du bas du visage”

Première at Théâtre des Trois P’tits Tours, Morges, April 24th, 1987. Solo dance-theatre based on texts from Samuel Beckett’s book Stories and texts for nothing. A series of shorts pieces, often violent. Dance, mime and contorsions mixed with a brilliant and sharp monologue. Where one tries to demonstrate that illusion: A – is necessary B..


Encore Torride

Première at Théâtre Municipal de Lausanne, November 26th, 1988, 70 min. Choreography for six dancers. Encore Torride, an allegory of elevation and fall, deals with illusion. With Icarus’ myth as a starting point.