Crossing The Line 2025

Belgian auteur Chantal Akerman envisioned this live, musical take on her 1993 travelogue D’Est in 2005 with her partner, the cellist Sonia Wieder-Atherton. Now, in this New York Premiere, Wieder-Atherton performs her curated score alongside award-winning pianist, Sarah Rothenberg.

As a lighter version of the monumental installation Les plantamouves originally created for the Centre Pompidou in Paris, this exhibition-workshop combines the tactile whimsy of mobile sculpture with interactive dance, inviting audiences of all ages to engage with more than 240 vibrantly colorful foam pieces through inventive video tutorials.

Back at L’Alliance New York after her acclaimed Crossing The Line 2022 debut, _jeanne_dark_, Marion Siéfert brings another ferocious collaboration with actress Helena de Laurens that embodies the tortures and triumphs of teenage girlhood.

One of the rising stars of French contemporary dance, Noé Soulier crafts a lecture-performance based on William Forsythe’s Improvisation Technologies—a series of educational demonstrations in which Forsythe draws shapes with different parts of his body.

In All right. Good night., acclaimed director Helgard Haug weaves together the disappearance of Flight MH370 and her father’s decline into dementia. With a live score by Barbara Morgenstern and the Zafraan Ensemble, the piece evokes the emotional weight of absence. It asks what remains when someone—or something—is no longer there.

Built in haunting cycles of physical and emotional extremes, bLUr exists within a corporeal landscape of crisis. Five performers navigate urgent interventions, tender and brutal rescues, moving through a space of howling hunger and deeply erotic tenderness with exquisite humanity.

Dancer Ruth Childs and sculptor Cécile Bouffard initiated their delicate people collaboration in 2021. In this latest series of vignettes, featuring dancer Evelyn Dugan, the artists address figures and motifs of disturbing identities and fine-tuned movements.

How can we use the body as a site of liberation, a site of healing? Grounded in epigenetic and psychosomatic research, Wanjiru Kamuyu offers voice and light to embodied legacies of inherited and personal suffering.

A Parisian house of haute couture receives an extraordinary commission. Over a period of several months and under the oath of utmost secrecy, more than thirty women and men will be hard at work in a Parisian workshop, making lace in Alençon and sewing embroideries in Mumbai. Interconnecting their stories into a choral form, Caroline Guiela Nguyen narrates the lives of this hidden workforce.

Blending theater and performance art, Brazilian director and writer Carolina Bianchi stages a shocking and vulnerable exploration of art and narratives of sexual violence that haunt women across history.

“[A] landmark in the history of the Avignon Festival” — Joëlle Gayot, Le Monde

Stripping a beloved Noh play down to its core, this Festival d’Avignon hit tells the human drama between an old man desperate to feel young again and the beautiful dancer made complicit in his downfall.

Acclaimed across Europe, Compagnie Dyptik makes its New York Premiere with this singularly hypnotic work that blends modern and hip-hop dance styles into a frenetic dance fever.

Brussels-based choreographer Soa Ratsifandrihana draws upon her Madagascan origin and diasporic experience to tell the story she longed to hear as a child. The ever-evolving performance, woven together with dance, music, and storytelling, reflects the performers’ entangled histories—rooted in Madagascar, Haiti, Martinique, and Guadeloupe, and shaped by life in France and Belgium, where they all live today.

Ten audience members come together onstage for an act of collective memorization, learning a Shakespearean sonnet by heart under the direction of acclaimed international theater artist Tiago Rodrigues. The results, according to a New York Times Critic’s Pick review, are “miraculous.”

Creating a choreographic circle in dialogue with percussive sound design by Stéphane Vecchione, Blast! is a study of how human bodies express themselves.

Created for audiences as young as one year old, this rousing piece for two dancers crafts a graceful, accessible story of contrasting physicality, shared language, and connection across difference.

Driven by the usage of “[sic],” a Latin adverb which indicates incorrect spelling within a quotation, often employed to contrast Black vernacular with standard English, Will Rawls’ [siccer] considers the ways in which Black bodies are relentlessly documented, distorted, and circulated in the media.