This young Kenyan dancer choreographer brings a modern style to traditional Massai dance, with exceptional artistic ability. "A journey into the future" is a personal narrative of an apprenticeship in contemporary convention, while never turning his back on tradition.

A major figure in contemporary dance, Carolyn Carlson imagines a dream-like world full of fabulous beasts, enchanted creature, a tree illuminated for adventures as would befit a Lewis Carroll tale. Five dancers on the stage take part in all kinds of fantasies, wearing the most extravagant costumes to superb magical effect.

In "Que ma joie demeure", Béatrice Massin creates an exuberant work which is widely acclaimed for its contagious energy.  Infinitely and purely musical right down to its choreographic intelligence, the work establishes itself as an orchestral movement and wins hands down in terms of pure dance.

For his latest creation "Entity", the English choreographer Wayne McGregor would question the links between artificial intelligence and choreography. Ten extremely flexible dancers compete in their virtuosity to confront the technical complexity of a dance which uses violent manipulations and unusual range.

"Risk, Quiiiiick, TATTOO" celebrate the choreographic style of Michel Kelemenis and the range of the score by the musician and “ethnologist of urban sound”, Christian Zanési. This is an example of the individuality of three pieces conceived more as danced exercises in style, three stages of what Kelemenis identifies under the proposed title, The Electroaudiocycle (L’électroacoucycle).

In "Un autre rêve américain", the goal of the young choreographer Éric Oberdorff’s creation is clearly to set his dance in a counterculture tradition. He uses a delicate rounded body-language which is suddenly electrified by uncontrollable fits of noise and fury, close to “rock and roll” spirit.

Fast, abstract and crossing over to the burlesque, "Ulysses" as choregraphed by Jean-Claude Gallotta entered as a dance legend in 1981. He needed all the teaching talent and creative inventiveness of Josette Baïz to ease into this cult score with the young dancers of Group Grenade.

Created in 1986, this violent piece was inspired by statuary of monuments to the dead, starting with a strong polemic against totalitarianism. Angelin Preljocaj thus conveys to a new generation of interpreters, a dance vision, a certain idea of heroic action, “stimulating emotion and creation”, which he created right at the beginning.

A musical comedy review revised by Alain Buffard, "(Not) a love song" is a work haunted by the memory of Hollywood star duels and the cruelty of cinema. If the choreography demands the conventions of musical comedy in terms of dance-shoes, it gradually alters course and imposes a surprising evanescent rhythm.

When Angelin Preljocaj chose to work on Vivaldi’s "Les Quatre Saisons", he knew that he was up against a score smothered by its ‘hit‘ status in classical music. He invited to the stage the most “green” of visual artists, Fabrice Hyber. This resulted in a Preljocaj/Hyber alliance which created a joyful comedy ballet for twelve dancers staged as if they were in a comic strip.

Germaine Acogny is an emblematic figure and charismatic ambassador of African dance and her last creation "Waxtaan", casts a new look on traditional dance to measure its contemporary value By drawing on the rereading of yesterday’s dances, the choreographer lends a political, social and economic dimension to the work, and questions the current action of heads of African states.

What if dance was the most directly poetical way to understand the function of the body? The three characters, Mister Muscle, his Girlfriend and Anatom, a mysterious character, are all imagined by Michel Kelemenis, in his telling of a fabulous story of discovery for children.

Because children can invent imaginary friends, they can understand perfectly that dance can conjure up the set and the accessories without having to make them. "The house" possesses this magical dimension. With this mischievous production, Hervé Chaussard, choreographer-magician, has erased the world and directly addresses a child’s imagination.

In creating the concept of "Affluents", Angelin Preljocaj has, since 1995, wanted to allow his dancers to get involved in the excitement of creation and as a result more than thirty works have seen the light of day.

The Ballet de Lorraine has put together a four act programme for refflection. Since 1978, the Ballet de Lorraine has set out to encourage creation by producing ballets by many well-known choreographers as well as young talent.

A tale of fantasy and japanese legend, here are both sides of a dream-like universe imagined by kaori Ito for her ballet "Noctiluque". Classical in form, and lying somewhere between manga and contortionism, kaori Ito has been the heroine for Philippe decoufflé, Angelin Preljocaj and james thierrée.

Symbolic of a new generation, the Pockemon crew are break dancers and have recently invaded the scene with "C’est ça la vie !?". Their dance not only shows rare technical inventiveness but also highlights a real dramaturgic problem, notably by the use of video.

By staying very close to the Grimm Brother’s story, Angelin Preljocaj revives the narrative form with "Snow White". On stage are 26 dancers of the company who embark on a new comedy-ballet to dance enchanted in front of a mirror, “a small, precious mirror”.