Berlin, 1930, during the rise of Nazism. Hermann Hermann, a Russian emigrant and chocolate manufacturer, married to the capricious Lydia, loses his temper more and more every day when dealing with his workers and other businessmen; until he meets Felix, a vagrant, who seems to be physically identical to him; a disconcerting fact that leads Hermann Hermann to plot a particular way out of a fake world he actually hates.

Obsessed with a general's wife, a clergyman has strange visions of death and lust, struggling against his own eroticism.

The duo made up of musician and actress Julia de Castro and double bass player Miguel Rodrigáñez thus premieres their latest show, Exhalación: vida y muerte de De La Puríssima. With it, they intend to put an end to the ten-year revolution of EL CUPLÉ this scenic musical genre, which the singular tandem has merged with jazz, cumbia and electronics on stages around the world. Show nominated for the Premios Valle Inclán. As the duo explains, De La Puríssima was born in 2009 “as a transit project, in which music was the most direct and ritualistic medium from which to raise core issues such as sex, bullfighting, folklore or religion”. Now, a decade later, it is time to remove the peineta and celebrate the end of a stage in which the provocative lyrics by Julia de Castro have traveled through numerous audiences to bring up to date a genre that was in the forgetfulness of national folklore, the cuplé.

The daily life of patients and the work of doctors, including Dr. François Tosquelles, at the psychiatric hospital of Saint-Alban in Lozère.

This film is a confrontation between the texts Antonin Artaud wrote about the Tarahumaras and the films Raymonde Carasco made with the Tarahumaras (from 1977 to 1994) on the track of Antonin Artaud, in Norogachic, the only place explicitly mentioned by Antonin Artaud.

A seance in which Antonin Artaud can be seen as a swirling depiction of a theater of freedom in the rubble of the hateful counter between actor and audience. Percival is the author of many books in Swedish and English. He has exhibited his paintings and photographs, composed experimental world music and directed some of his own plays and a play by Beckett.

Frank Castorf has adapted Racine and combined this material with texts by Artaud. His art of theatrical and vital immoderation explores how, when it comes to this classical French author, the tragedy of existence is born from collusions between private passions and power.

Play by Antonin Artaud adapted for the stage and directed by Billy White.

The process of attaining coronation in the Anarchic Empire requires that Heliogabalus pass through the domains of incorporation of political, sexual and divine power. After incorporating these stages he finally arrives at the neuter.