- Krrrch - who's dragging a circular piece of metal onto the stage? Or is the piece of metal rather pushing this heap of cell tissue?

With the Cyr Wheel, three performers embark on a detailed investigation into human-object relationships, drawing a sensual utopia - beyond subject-object dichotomies, reification and anthropocentric hierarchies of meaning.

In Restraint, dancer Julek Kreutzer fully engages with a single, specific quality of movement: a continuous burst of energy in the smallest of spaces that constantly puts the force in its place. Driven by the rhythm of the drums, she works persistently to maintain this state, which nevertheless changes imperceptibly. In this extremely physical choreography, dance and music make the room and the audience vibrate.

It all starts on a Friday. The mother goes to flamenco dancing. She takes her daughter with her. The daughter watches her mother, is amazed, full of admiration, sees a strong, independent woman.

In her auto-fictional solo performance, Eva Borrmann sets out to search for things and events that have shaped her life story. The result is a story that oscillates between longing to return to the past and analytical observations of catastrophic family events. Through dance, she relates to nostalgic, kitschy and touching memories that are also inscribed in her body. In her choreography, she shows how the outgrown body cannot escape its own past, but tries to emancipate itself and confront the absurd.

Borrmann's production and Urs Humpenöder's text focus on looking back: a cassette tape that has been listened to over and over again, the half-empty boxes of Marlboro Red, the hastily hidden McDonald's bag - in a nostalgic look back, everything can be magically charged, only to lose all meaning when you first reflect on the past: everything was completely different.

A choreographer friend once said: "When I was young, I knew a dancer who looked like you, just like two peas in a pod. You should organise a meeting." Then the choreographer disappeared into the dark night, like the messengers of fate in storybooks. So we organised this meeting between Kai Brügge and Frédéric Werlé.

They certainly resemble each other despite the generation that separates them. But it is precisely because of this physical similarity that their differences are striking. The two men meet on stage in the ruins of a shared house. They could be father and son. It could also be the imaginary or malicious doppelgänger known from Germanic legends.

Kai Brügge and Frédéric Werlé are at two opposite points in their artistic careers: one has suppleness and strength, the other has experience of working with the greatest choreographers and knows how to look best when in the spotlight.

The piece plays with the similarities and contrasts between these two bodies, these two energies and these two ways of approaching dance and movement. The two partners act alternately as echo, mirror and repulsion.

How can I exist in the face of the other, or, to use Martin Buber's phrase, how do I appear in the face of the other?

Between dream, fantasy and memory, INVENTAIRE explores the effects of an encounter; the admiration, competition and jealousy between two male bodies. Like a repertoire of strategies to continue to exist as an individual despite the intrusive presence of a doppelgänger.

With pussy lounge, six artists, a musician, a slam poet and four dancers from different backgrounds, different generations and challenges, explore the constantly changing external and internal demands of being a woman. Their aim is not to create another manifesto, but to approach it biographically, individually and in a haphazard way. Who are we when no one is looking? What ideas do we share? What are we afraid of? Where do we hit a snag?

The go plastic company attempts to identify the positive power of anger, to translate it into usability and to provide space for different approaches. From the outside to the inside, between negative representation and positive selling, between being carried away and painful self-awareness, between exuberant energy and unrestrained silence; go plastic invites you to engage and participate, and takes the audience on a journey through the realms of anger.

For years, Zina Vaessen has listened almost every day to his seven young toccatas for harpsichord and organ, in the time between brushing teeth and falling asleep. Toccare is the beating, touching and feeling of an instrument, improvised and playful, unmediated and varied. In a deliberately "cultureless" examination of the toccatas of Johann Sebastian Bach, the choreographer and dancer negotiate her own inner drive for movement, play and pleasure in a completely new way in her dance solo.

The dance piece poetically examines the embodiment of defence and survival mechanisms in humans, plants and animals under constantly changing living conditions. The piece is inspired by cacti growing in nature. The most remarkable defence mechanism of a cactus is its ability to grow spines instead of leaves. It can adapt to extreme and difficult environmental conditions, thus making it similar to humans. Part of the audience is invited to participate in a sound installation that influences what happens on stage. This creates a fictional ecosystem - an island - within a clear, bright landscape in which relationships are redefined.

Sebastian und ich! Workshop on the musical body with Zina Vaessen and Julia Klockow

In this workshop, interested parties can immerse themselves in the language of movement of the piece.

"red moon" is an artistic exploration of the female cycle in resonance with the cyclical laws of life. The dance performance tells a story about women, their connection with intuition and nature. A Mystical-animalistic choreography about innocence, lust, struggle and devotion in the cycle of creativity and destruction, full of vulnerability and strength. Powerful and wild, but also tender and vulnerable – always in a state of flux.

Yoga is omnipresent in the world. “How to do a downward facing dog?” is a project that uses an asana (yoga position) to examine the phenomenon of yoga biographically, physically and theoretically and its position within a complex network of socio-political contexts. The Swiss choreographer and dancer Johanna Heusser, as a white Swiss woman, sets out to find her role in the network of yoga as a phenomenon in which socio-political contexts from neoliberal self-optimisation to cultural appropriation, converge. In a dance performance, her own body becomes the visual material for the negotiation. She repeatedly assumes the pose of the downward facing dog and places this process in ever new contexts.

If I could wish for something, I would want to be a little happy, if I were too happy, I would be homesick for being sad." F. Holländer/ M. Dietrich

What is the key to happiness? Could it be, that what is behind closed doors is not so special after all? Just the familiar life in a duet between good and less good moments, between harmony and irritation, stagnation and movement, between success and failure, (self)love and rejection, tension and relaxation, between joy and melancholy...

Six dancers and two musicians research happiness and the opposite of happiness in a society in which we seem to lack nothing, and they create a touching dance performance under the artistic direction of Katja Gluding.

Does it make you happy to be experiencing this moment? Then you are ready for the beauty of the moment. In I-Fen Lin's Südpol production, four actors look for the short, random moments of happiness that should not be missed. The production gives space to the beauties of life and provokes unpredictable situations in which the origin of these moments of happiness seems to lie. The beauty of the moment is happening NOW.

The internationally successful dancer and choreographer I-Fen Lin lives in Lucerne and in her work, she moves between concept, direction, choreography and dance. In her interdisciplinary pieces, she choreographs not only movement, but also situations in space. For 'Findet Jetzt statt' she worked with actors.