• Text, music & stage direction Joris Lacoste
• Set design & lighting Florian Leduc
• Choreographic collaboration Solène Wachter
• Music & sound collaboration Léo Libanga
• Costumes Carles Urraca
• Performance Daphné Biiga Nwanak, Camille Dagen, Flora Duverger, Jade Emmanuel, Thomas Gonzalez, Léo Libanga, Ghita Serraj, Tamar Shelef, Lucas Van Poucke
• Sound engineering Florian Monchatre
• Staging assistants Léo Libanga & Raphaël Hauser
• General stage management Marine Brosse
• Internship Seydou Grépinet
• Production et distribution Hélène Moulin-Rouxel & Colin Pitrat (Les Indépendances)
• Administration Edwige Dousset
• Executive production Echelle 1:1
• Associated production La Muse en Circuit – CNCM
• Supports Fondation d’entreprise Hermès, Fonds de production (DRAC Île-de-France)
• Co-production Bonlieu scène nationale d’Annecy | MC93 – Maison de la Culture de Seine-Saint-Denis | Théâtre Garonne – scène européenne Toulouse | Les Célestins, Théâtre de Lyon | Festival d’Automne à Paris | Festival d’Avignon | Centre Dramatique National Orléans / Centre-Val-de-Loire | Festival Musica Strasbourg
• With the artistic participation of the Jeune théâtre national and the integration program of the Ecole du TNB
• Residencies Abbaye de Noirlac | La Muse en Circuit – CNCM | MAC de Créteil | CROMOT Paris | MC93 Bobigny | Bonlieu Annecy | Théâtre Garonne Toulouse
• Acknowledgement Ling Zhu, Assia Turquier-Zauberman, Alan Hammoudi, Jean-Baptiste Veyret-Logerias, Pierre-Yves Macé, Augustin Parsy
• Images generated by Dall-E artificial intelligence

“Nexus of Adoration” is a pop-liturgical performance that seeks to celebrate the multiplicity of our modes of existence and our experiences of the world.

“Nexus of Adoration” imagines a new religion for our time, whose creed would be to embrace all forms of life (and non-life), to respect all ways of being, to sing—without order or hierarchy—about all things: a vape and a galactic cluster, a mitochondrion and the latest track by Jul, a stag in the mist and a multiple orgasm, a triple-double by Simone Biles and a fake mustache, a motion of censure and a loaded kebab with Algerian sauce.

“Nexus of Adoration” presents itself as a musical and queer ceremony, a grand sabbath of hyper-heterogeneity where nine officiants intertwine minimalist poems, rousing speeches, pop choruses, materialist prayers, rhythmic meditations, K-pop choreographies, absurd dialogues, unsettling confessions, mouth noises, and endless litanies.

By blending the most diverse objects and modes of celebration, multiplying points of identification and references, making distinct—even opposing—realities coexist, and composing unexpected connections, “Nexus of Adoration” seeks to create a new kind of common ground: rather than an ideal of homogeneous universality, a joyful concert of differences and dissonances.