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Joining worlds

JUNCTiO was born from the desire to question the norms of our time, be they capitalist, social or sexual. How can we invent forms that disrupt the rules that have been accepted a hundred times and applied just as much? Let's imagine a flexible theater, less constrained, an art that gets out of the frame. A theater that takes the lead.

JUNCTiO crosses writing, theater, cinema, photography and performance. These intersections take our gaze off the beaten path and reactivate our imaginations in the opposite direction of consumerism.

JUNCTiO is a sensory laboratory. We weave our inner experiences with the outside world. Our work explores the relationship between space and time today. Where do we find zones of exchange between life and art? How does the body find its place in the midst of acceleration and virtuality? Let's invent a theater as a hive of experimentation.







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WHAT I CALL OBLIVION by Laurent Mauvignier - in production

Text Laurent Mauvignier /Direction & set design Sophie Langevin /Dramaturgy Youness Anzane /Actor Luc Schiltz / Sound and stage design Jorge De Moura Choreography Emmanuela Iacopini / Costume & Accessories Sophie Van Den Keybus / Lighting & stage management Jef Metten / Assistant directors Jonathan Christoph, Denis Jousselin / crédit Bohumil Kostohrzy

A JUNCTiO production / Coproductions CAPE (Centre Culturel des Arts Pluriels Ettelbruck), Kinneksbond (Centre Culturel de Mamer)


A man enters a supermarket. In the drinks aisle, he opens a can of beer and drinks it. Four security guards appear, surround him and take him into the storeroom. There, they fall on him and, in the middle of the cans, beat him to death. All for nothing. A narrator takes over the story. In a sentence that never ends, he addresses the brother. He puts words to the unthinkable. He seeks to understand the mechanisms that produced this tragedy. How people can die for nothing. He tries to make the victim's feelings heard. He goes through what his life was like; a marginal life that leaves no trace. Like perhaps those who faced him. We navigate between the blows - which the victim can't escape and which make a dull noise - and his life outside and the world around him; his family and those of the security guards and society, which in a way perhaps participated in this.
Through this story, the narrator holds up a mirror to our contemporary society, and at the same time succeeds in connecting us to humanity, in the midst of the isolation produced by individualism and blindness to otherness.

And you come out alive.

(... ) my death is not the saddest event in my life, what's sad in my life is this world with vigilantes and people who ignore each other in dead lives like this pallor, this death all the time, every day, that it finally stops, I assure you, it's not sad like losing the taste for wine and beer, the taste for kissing, for inventing destinies for people in the subway and the taste for walking for hours and hours (...)* * What I call oblivion - Ce que j'appelle oubli

"Today, in a context of accelerating competition and growing inequality, which fosters the impression that there is no society or state, only a war of all against all, individuals are directly exposed. (...) This negative reaction to the existence of the other, where envy mingles with a feeling of humiliation and powerlessness, is spreading and deepening." Pankaj Mishra, The Age of Anger, 2017
"A terrible increase in mutual hatred and an almost universal irascibility of everyone toward everyone else." Hannah Arendt, Political Lives,1956

I discovered Ce que j'appelle oubli when it was published. It was a shock. I felt shaken. A chilling sensation of brutality in action. Paradoxically, through this violence, I felt a hand being extended to me, like a great fraternal consolation. Ce que j'appelle oubli plunges us into a dizzying back-and-forth movement of noise, blows and crashes, where suspended breathing is close to suffocation. 

Since the publication of this book, written a few months after the murder, the world has become even harder. Societies are fractured, a muted, systemic violence is beginning to emerge, borders are being created, walls are being erected, a kind of mistrust is emerging between people; between those who do not belong to the same social classes. Fear creates rejection, fear distances. This state of distrust leads to judging others who are not the same. To despise those who fail. It's urgent to take care of the human world, the one that connects us, and to deal with its ills. Luminous and desperate against the “little” barbarism in action, this text has the benevolent power of a vital impetus to ensure that humanity does not sink into an inability to look at others and welcome them. 

Laurent Mauvignier has the words to console us.

As with the character of Mona in Agnès Varda's “Sans toi ni loi”, who freezes to death in a ditch, Laurent Mauvignier reconstructs this man's journey in a fragmented way, each new piece retracing a piece of his destiny, that of a marginal who was once part of society, but is no longer. Perhaps by choice. And as with Mona, this “freedom” disturbs and upsets, perhaps triggering the boundless hatred that has fallen upon him. We'll never know. 

 why you despised me ?

(... ) they've all lowered their eyes because they've got work to do and lawns to mow or trains to catch, children to pick up after school, and also because they're hoping to escape their own misery, what I call misery, from all the misfortunes when on the way it's a guy like him they come across, naked as a nightmare, his filthy face lit up by their headlights instead of the animals at the end of a wood, on the embankments - and they all lower their eyes or avert them to ward off the jinx that sticks to others(... ). * Ce que j'appelle oubli - Laurent Mauvignier

Not long ago, I came home quite late and in the small hall, under the mailboxes, a woman was sleeping in a sleeping bag on the floor. The neon light came on and she woke up. There I was with my key, ready to open the second door.  I was going home to warmth. I couldn't ignore her. I couldn't ignore her. I talked to her, she told me her story, her misery, and I invited her to come and sleep in the warmth. It was the first time I'd ever done that. I offered her something to eat, then she took a bath. The next morning, I had to wake her up. We went out and she took to the streets again. One day, she came back to ask me for money. And when I saw her again, I realized that I'd wanted to forget her.
And I felt like crying.

For me, Laurent Mauvignier's text has the power of a song for all those who are forgotten, against this brutal world that gives poverty and marginality the color of rejection. 




Portraits in room is situated in the continuity of The apartment which did not sleep. These performances reflect on the intimate captured in a place and a suspended temporality. As if time could stop and be recomposed in another way.

This short form (+/-6 minutes) offers, through women's portraits, to observe, to listen to our time upset by a world in conflict, an acceleration of time, an impossibility to transform our model of society. A society torn by extremes and by the loss of the collective. And, a society in which the reference points are questioned, pushed around, notably on the question of gender which modifies our interior metronomes and the intimate scale.
A society on the alert.

A double movement is searched here: first, the writing which reveals the human contradictions, our ambivalences, our frailties, our power. Then these movements towards "the other" to which the spectators/observers are invited are reinforced by the position they occupy. At a short but constrained distance since they see-listen-observe through an interstice, or in the privileged position of being alone in a room with the performed figure. They become accomplices of the story that can be their own. This proximity and the necessary solitude is reinforced by the text played with headphones.

In these paintings, the decor is part of the story. It is even from a scenographic element that the narration begins and that it is written. Like a mise en abîme through a place, a space. The place as an echo to the scenographed body.



(...) She wore her old shoes, which she'd been carrying around for a long time and which looked just like her - a step, then. That night to. Stop the destruction of her daughter. Disintegration, she had said to herself that very morning, watching her sitting in front of her breakfast and suddenly understanding that body as falling, inside, like a block of ice detaching itself from a wall, the sound ricocheting off the horizon to infinity. In front of the bowl of cereal her daughter was staring at, unable to swallow. The flakes suddenly became stone and cement like the icy tiles of that night. Freezing like the unspeakable. Frozen like the muffled scream. That of the petrified throat. She had perceived it that morning in the silence of the room, suddenly torn apart by the barking of the neighbor's dog. She had suddenly seen her daughter disappear and become a shadow of her former self. And then she had heard the sound of that mute cry that could not be heard because it could not be spoken. The screaming sound of the silence of the child who doesn't know that what's happening isn't happening. But she does know that this thing crosses a boundary; that of her intimacy, which she cannot yet name because she is still only a child. 






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June 2024

Friday 14 June, 20:30 — 22:00
WHAT I CALL OBLIVION - Institut Français du Congo / BRAZZAVILLE

BP 2141, N1 Brazzaville, République du Congo

Monday 17 June, 20:30 — 22:00
WHAT I CALL OBLIVION - Festival Dol'en Scène - Biennale des petites formes / Dolisie, CONGO

Festival Dol'En Scène - La Biennale des Petites Formes Théâtrales de Dolisie)
ESPACE TINÉ Dolisie - Congo


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Text Arne Lygre / Director Sophie Langevin Set and costume design Anouk Schiltz, collaboration Denise Schumann / Video and assistant director Jonathan Cristoph / Sound designer Pierrick Grobéty / Lighting designer Daniel Sestak / Sound technician Firmin Bernard / Make-up Zoé Ewen / Painters Noémie Tudoux and Tiziana Raffaelli / Production manager Dani Jung/ Comédien. nes Garance Clavel, Denis Jousselin, Marie Jung, Régis Laroche, Francesco Mormino and Läetitia Pitz
Produced by Théâtre National de Luxembourg / Coopération JUNCTiO
Photo credit ©Boshua

At the mouth of a fjord, a man wants to build a city designed according to his dreams: there, in this city of red houses, he maintains a relationship with a brother, an ex-wife, a daughter - or at least they're presumed to be - governed by money, paying them to behave according to his "good will".

This minimalist, epic play by Norwegian author Arne Lygre challenges our relationship with reality. To money and power. To truth and falsity. At a time when we have collectively plunged into the fabrication of another self on the edge of our virtual walls, and when purchasing power has become the watchword of our societies' well-being. It's dizzying to imagine a Peter who can buy himself a city, a family, feelings and create an illusion... Homme sans but is a ferocious, funny and cynical play about our contemporary world, where artificiality is gradually taking the place of reality, where doubt is growing, and not far away, a destructive void.

Behind the woman who claims to have been my wife.

Who are you? What are you thinking? Who do you talk to?
What do you live for?

Besides my money, I mean.

I don't know you.





On September 24, the inhabitants of Aumetz and the territory are invited to take part in a Grand Banquet of Aumetz Dreams. On the main square, a great popular ceremony is being prepared. In this enchantment, the months of artistic cooperation will be restored through a great convivial show: sound, textual, visual and game restitutions. For the creation of this evening where we transform Aumetz into an open-air theater, we relied on what the city was saying. It wanted to revive a popular festival, in the image of the metamorphosis it experienced in 1931, during an ecumenical ceremony. She wanted people to dance in her square and to walk through her streets at night, to go to the edge of a field. We imagined a dream party that starts with a banquet on the square, like a wake where actors and audiences tell their dreams, and then dive together into a life-size dream and finish with a dance until the end of the night.

Orchestration des rêves Alexandra Tobelaim, Sophie Langevin, Fabienne Aulagnier  Scénographe Hervé Coqueret  Compositeur Olivier Mellano Auteurs Jean-René Lemoine, Jean-Philippe Rossignol Anthropologue des rêves Arianna Cecconi / Plasticienne Tuia Cherici Compagnie l’Insomnante Claire Rufin, David Bouvard, Aline et Vincent Beaume Compagnie Rara Woulib Julien Marchaisseau, Pierrick De Salvert, Alexandra Satger, Vincent Salagnac Cuisiniers Thierry Casoni, Pierre Schaffer Costumes Karine Marques Ferreira Musiciens Claire Vailler, Vincent Ferrand, Yoann Buffeteau, Lionel Laquerrière Comédiens Lucile Oza, Carlos Martins, Aude- Laurence Biver, Brice Montagne, Laure Roldan, Isabelle Bonillo et les comédiens de l’Académie de l’Union de Limoges: Siméon Ferlin, Youness Polastron, Adelaïde Bigot, Richard Dumy, Lucile Dirand, Joris Rodriguez, Luka Mavaetau, Roxane Coursault-Defrance, Robinson Courtois, Marianne Doucet Création et régie lumière Alexandre Martre Création et régie son Emile Wacquiez Direction technique Christophe Guilloret Régie générale Jean Huleu Danseurs Génération Country,  Choeurs du territoire Les Voix de l’Est, Home Sweet Home, Mosaïque, Mireille Raconte et le groupe amateur de Thionville

THE DREAMS FEAST est le deuxième volet d'EKINOX. 
EKINOX est un projet initié par le NEST
/Centre Dramatique National du Nord-Est à Thioville dans le cadre la Capitale de la Culture Européeene ESCH22. Ce projet en deux volets (equinoxe de mars et de septembre) cherche à explorer le sommeil et le vaste continent des rêves. Une expérience totale, à la fois cérébrale et sensorielle, artistique et scientifique. Un collectif d’artistes, chacun.e.s à leur manière, a été réuni pour aborder ces questions. Alexandra Tobelaim, metteure en scène et directrice du NEST - conceptrice du projet  / Fabienne Aulagnier- co-conceptrice et directrice de prodution / Claire Ruffin, La Cie L'insomnante /Julien Marchaisseau, metteur en scène et Adrien Maufay, scénographe, La Compagnie Rara Woulib / Arianna Cecconi, anthropologue et Tuia Cherici, vidéaste / Sophie Langevin, metteure en scène, Cie JUNCTiO


4 pieces. 4 stories. 4 insomnia
4 paintings in a 5' room


"Insomnia is a world in itself, it has its rules and its reasons for being.

The apartment that did not sleep
A woman, on a bed, in a room with chiaroscuro light.
Boys and girls, around a sofa, in front of a television.
A woman sitting in profile at a kitchen table.
A man and his reflection in a bathroom mirror.

These characters form photographic pictures, cinema apparitions. Their images make up the apartment that was not sleeping.
The public wanders in the closed space of the apartment, with for only access some angles, like skylights.
For each sequence of this visit, we hear a voice-over, on headphones, telling moments of life. Past-present, as many desires, questionings and troubles.
The images seem fixed, the bodies immobile.
However, the movement of the voice makes these distant biographies close.

L'appartement qui ne dormait pas reveals the inner experience of these characters, our doubles.

The time of the sleepless nights or grey nights (the cut between) is interminable by the energy mobilized to find rest. To succeed in resuming the course of sleep. It is as if time itself was not sleeping. It becomes in its turn body. It loses its abstraction because it is counted, felt in its flow.
Time in the nights is alive. It becomes the actor and the material of the intimate stories of these people.
The nights belong to the dreams or the sleepless nights, in both cases our unconscious is invited.
It offers a magical and dreamy journey or a nocturnal awakening that does not allow the body and mind to rest.



Conception, writing, direction Sophie Langevin Scenography Sophie Langevin and Hervé Coqueret Photo Bohumil Kostohryz
with Denis Jousselin, Célestin Alain-Launay, Youness Polastron, Adelaïde Bigot, Richard Dumy, Luka Mavaetau, Sophie Langevin, Hélène Luizard, Marianne Doucet

L'appartement qui ne dormait pas was conceived and created for EKINOX.
EKINOX is a project initiated by the NEST / National Dramatic Center of the North-East in Thioville within the framework of the European Capital of Culture ESCH22. This two-part project (March and September equinox) seeks to explore sleep and the vast continent of dreams. A total experience, both cerebral and sensory, artistic and scientific. A collective of artists, each in their own way, has been brought together to address these issues. Alexandra Tobelaim, director and director of NEST - project designer / Fabienne Aulagnier - co-designer and production manager / Claire Ruffin, La Cie L'insomnante /Julien Marchaisseau, director and Adrien Maufay, set designer, La Compagnie Rara Woulib / Arianna Cecconi, anthropologist and Tuia Cherici, video artist / Sophie Langevin, director



Orchids are placed in front of the world, in the windows of houses and they feel particularly welcome in Luxembourg.
They are the observers of our world. They are the witnesses of our behavior. They do not move and become invisible. They can thus scrutinize us in all subjectivity. It is a world in itself. Unknown to most people.
The Orchids are spotted in the streets and put into play. The text is diffused by a speaker.


273 DAYS
by Jean-Philippe Rossignol

Excerpt: "You're early, aren't you? Or am I a little late? I don't recognize all the faces, some of them do. I woke up a few minutes ago. It's as if I'm coming out of the depths. Do you know the relationship of orchids to sleep? Our long absences. Because our life has its other side. Beauty kills us from the inside. Flowering is a fight. After the magnificence in public, we must consolidate, take a big break, secretly recharge our nutrients. This work is vital. I have just slept 9 months. 273 days of sleep. In one go"

Conception and voice Sophie Langevin Text Jean-Philippe Rossignol Scenography Sophie Langevin et Adrien Maufay

The Lament of the orchids was conceived and created for EKINOX.
EKINOX is a project initiated by the NEST / National Dramatic Center of the North-East in Thioville within the framework of the European Capital of Culture ESCH22. This two-part project (March and September equinox) seeks to explore sleep and the vast continent of dreams. A total experience, both cerebral and sensory, artistic and scientific. A collective of artists, each in their own way, has been brought together to address these issues. Alexandra Tobelaim, director and director of NEST - project designer / Fabienne Aulagnier - co-designer and production manager / Claire Ruffin, La Cie L'insomnante /Julien Marchaisseau, director and Adrien Maufay, set designer, La Compagnie Rara Woulib / Arianna Cecconi, anthropologist and Tuia Cherici, video artist / Sophie Langevin, director



Performance / 6 '

Conception, writing, performance Sophie Langevin / credit photo Jon Campfens / Production Junctio
Performed at OCAD Toronto, Room# 334

Extract from the artist's review Simone Jones, Toronto 2022

“In life, meaning is not instantaneous. Meaning is discovered in what connects and cannot exist without development. Without a story, without an unfolding, there is no meaning.” Berger, John., “Appearances: The Ambiguity of the Photograph”

In Sophie Langevin’s performance “She had her daughter’s hand in hers” the artist assumes a static position for a duration of three hours. Staged as a tableau, the pose offers the viewer an image of a woman caught in mid-flight as she reaches protectively to grasp the hand of her unseen child. The stillness of the pose is strongly informed by photography. Yet unlike a photograph, where viewers are positioned as observers, we are invited to experience this work as an encounter.
On the surface, the work functions as theatre, but there is an important difference: this work is staged for an audience of one. Individual viewers don headphones before they enter the space of the performance. A woman’s voice (it is the voice of the static figure) describes a situation where they must remove their child from an abusive relationship. Viewers may move around the room in a manner of their own choosing: they can approach the figure, walk around her, or they can maintain their distance. The story that unfolds in the headphones, and the raw physicality of the woman’s presence, connects the audience with her plight but also strongly suggests a future. Time, although seemingly frozen, continues. Narrative forms a connective tissue between the moment of the woman’s decision and the possible future that this decision represents.

The physical space of the encounter between the performer and the audience member creates an intimacy where observation is embodied rather than purely visual. Langevin’s insistence on shared presence, implicates the audience member in an event that is continuously unfolding.


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APPHUMAN by Sophie Langevin and Ian De Toffoli

Production 2020/22


Conception Collective / Direction Sophie Langevin / Text Ian de Toffoli / Dramaturgy Mikaël Serre / Set design & costumes Marie-Luce Theis / Lighting design Mathias Roche / Sound design Rajivan Ayyappan / Video Anne Braun / Assistant director Jonathan Christoph/ Actors Denis Jousselin, Renelde Pierlot, Luc Schiltz, Pitt Simon and Garance Clavel
Production Les Théâtre de la Ville Coproduction Théâtre de Liège; Festival Impact Theatertage Rheinlang-Pfalz /Staatstheater Mainz

In a mixture of theater and science, AppHuman asks the question of the human being in the face of the massive technologization of the world, with all that this implies: the fusion of man and machine through the algorithms that manage social networks and smartphones, the abolition of private lives, mass surveillance, the standardization of our societies, as well as the use that technology companies make of personal data and above all, the question of biases and ethics in a world that is increasingly governed by automated systems.

AppHuman is intended as a playful and serious experience at the same time, as a fictional case study, as a parable of what awaits humanity in the coming decades, if the creeping digitization and technologization of the world is not subjected to a fundamental critique of public authorities.

The Press

In a dense play the author Ian de toffoli and the director Sophie Langevin evokes the torments of a world where the error is only occasionally human and where the man to entrust the responsibility of these acts to the machines that surround him. If the technological dystopia is sometimes a bit didactic, the theater becomes here a space of negotiation where the possible futures of humanity are played out Jef Schinker - Tageblatt



Production 2021


Concept, direction and sound design Sophie Langevin / Collective writing / Dramaturgical advice Frank Feitler, Mani Muller / Set and costume design: Peggy Wurth / Assistant director and translator Claire Wagener / Lighting Nico Tremblay / Video Jonathan Christoph / Sound design Emre Sevindik / With Aude-Laurence Biver, Bach-Lan Lê-Bà Thi, Nora Koenig, Andrea Quirbach / Collaboration Christophe Sohn (LISER), Jean-Louis Schlesser (ASTI) / Production Escher Theater / Co-production La Compagnie du Grand Boube; Staatstheater Mainz
Support Ville de Luxembourg ; LISER - Luxembourg, Institut of Socio Economic Research / Partners : ASTI - Association de Soutien aux Travailleurs Immigrés.

190,000 border workers. The number of cross-border workers in Luxembourg is constantly rising. A resounding statistical reality, this number conceals countless little-known individual stories. Based on testimonies, this show explores the daily life of French, Belgian, German and Luxembourgish women who cross the borders of the Grand Duchy every day. And who, for some, have continued to cross them in the midst of the Covid-19 crisis to save lives or ensure sales in the food industry. A crisis as a magnifying glass: the border phenomenon is not only an economic relationship, it is also, more than ever, fundamentally human.



Production 2018-2019


Text Alice Birch / Translation Sarah Vermande / Stage direction, set design, film concept Sophie Langevin / Assistant director Marylène Andrin / Costumes Sophie Van Den Keybus /
Sound creation Emre Sevindik / Lighting Nico Tremblay / Video Jonathan Christoph / Stills Jako Raybaut / Actors  Agnès Guignard, Francesco Mormino, Leila Schaus, Pitt Simon and in alternation Denis Jousselin / Production  Théâtre du Centaure Co-production Opderschmetz / With the support of the Ministry of Culture and the National Cultural Fund
Selected by the Federation of Theaters for the Festival d'Avignon 2019, programming Grand Est and Luxembourg

It is a kind of feminist manifesto, a furious, powerful and funny revolt against the symbolic and real oppression of the female gender in its body and status. It encourages us to think about our intimate, professional and political relationships between men and women in our 21st century society. Alice Birch explores the ways in which language, attitude and behavior have defined and confined women's roles, sexuality, bodies and ways of functioning in the world.

It is a call to consciousness and a blunt examination of how women are contained in society by oppressions we almost never see. It dismantles the mechanisms of power and submission and brings to light the disasters of the images, thoughts and stereotypes conveyed on the consenting woman, rape, virginity, porn. It shows finally with force, the brutality of the violence made to the women within the family framework, its repercussions in heritage of destruction and annihilation. How to invent a new world on the remains of such an old oppression? Alice Birch's answer: REVOLT!

1973. Feminist linguist Robin Lakoff writes: "Women experience linguistic discrimination in two ways: in the way they are taught to use language, and in the way the general use of language treats them."

The Press

Sophie Langevin's staging is quite clinical: white walls, stadium-like corridors to separate the characters, costumes of white fabric and plastic. The whole performance is of a radical and implacable sharpness. The characters are sometimes the carriers and sometimes the victims of a growing revolt. The line set up and followed by Sophie Langevin shows a singular talent. Web Théatre / Feminist Radicality / Gilles Costaz

Here, women rebel. This time, it is the vagina that gobbles and not the penis that penetrates, it is she who will hold the hourglass of pleasure and he will no longer be the master of time. By this reversal, these funny and grating sketches reveal another language, implicit and violent, of men who shape the world - and women - according to the supreme will dictated by their impulses. By questioning the crucial issue of language, Révolte raises the issue of our representations. Marianne / On the stages of the Off, women take back the power / Youness Boussena

"Sophie Langevin's masterfully directed Révolte shakes up the codes and offers a strong, audacious and painfully funny adaptation of the feminist text by the young British playwright Alice Birch. Without a doubt one of the most intense and superbly executed productions of the season. Lëtzeburger Land / Being a woman / Fabien Rodrigez

"The work that emerges is commensurate with the stakes that the place of women in our society constitutes: it upsets habits, deeply interferes in conditioned reflexes and sets a multitude of tiny explosive charges. Woxx / Florent Toniello


LA DISPUTE by Marivaux

Production 2018


Director Sophie Langevin / Set and Costume Design Anouk Schiltz / Dramaturgy Youness Anzane / Sound design Rajivan Ayyappan / Assistant Director Jonathan Christoph / Choreography Emmanuela Iacopini / Actors  Robin Barde, Nicole Dogue, Jérôme Michel, Christophe Ratandra, Elsa Rauchs, Jeanne Werner and the voice of Luc Schiltz,
Production Théâtre National de Luxembourg / Coproduction CAPE/Ettelbrück

Philosophical controversy or perversion? Wealthy aristocrats, for their own amusement or existential questioning, decide to lock up four young men for twenty years, away from society, in order to witness an experiment in "life".
Subject of their experiment: Who of the man or the woman was the first inconstant? Shuffle the cards; The snake and the apple are put back into play.
The man who decided this is a King (since his son is a prince), and it is to his son "The Prince" that he offers this experiment post mortem, because twenty years have passed. The Prince therefore decides, in order to find a way out of the "dispute" that opposes him to his courtesan; Hermiane, to open the doors of this closed world that must represent "the beginning of the world". This "beginning of the world" which can thus provide the proof of the power of the innate on the acquired and which can judge the constancy of the world and the inconstancy of the relations.
The world of this Prince lives a fin de siècle, the end of a world. Degeneracy lurks, just like the ultra-rich class of today who no longer know what to invent to feel alive. It is the total boredom, the emptiness, the desire that they have murdered. They seek the taste of life without knowing that they kill it by their omnipotence. At the "beginning of the world" would hide humanity and purity? And it is in contact with the other and the society that the perversion would surface... J.J Rousseau makes himself heard.

The press

The performance of the six actors is impeccable and resolutely enjoyable - a joy that the spectator shares all the more since he is dispersed on the four sides of the arena for maximum immersion. Jeff Schinker / The game of monogamy / Tageblatt

As with her other productions, Sophie Langevin is full of ideas and has an eye for aesthetics Josée Hansen / Narcissism and vanities / d'Lëtzebuerger Land



Modernity, loved, hated or ignored?

How has modernity imposed itself on our daily lives?
How do we look at the buildings we see every day?
Rejection, appropriation or indifference?
We propose a dive into the archives of Luxembourg but above all a journey through the events that testify to the confrontation of man with modernity.
In the manner of Agent Dale Cooper landing in an unknown land in the small border town of Twin Peaks in David Lynch's famous series, Jane Doe arrives in Luxembourg.
Five investigations await her. All have the same objective: to retrace the sinuous path followed by men in their insatiable quest for novelty. 5 crossroads in time and space, built in a back and forth between tradition and modernity.
Each of the information gathered during the investigations are isolated elements forming so many parallel stories that end up being assembled in a giant puzzle.

Curators Stéphanie Laruade, Bohumil Kostohryz, Sophie Langevin / Curator Fondation de l'Architecture et de l'Ingénierie / The committee of experts Joseph Abram, Jill Mercedes, Gabriele Diana Grawe, Nico Steinmetz, Tatiana Fabeck, Andrea Rumpf / Architects Matej Spacek, Vojta Dvosak, Alexandre Kopoev / Image Editing Amin Jaber / Lighting Designer David Debrinay / Technical Editing Denis Jousselin / Computer Specialist Frantisek Veseli / Translation Annicka Shapiro / Electrical Management Bruno Vahalik


Production 2011


Director Sophie Langevin / Set design Sophie Langevin and François Dickes / Sound design André Dziezuk / Lighting design David Debrinay / Stage manager Fabrizio Leva / Assistant director Cecilia Guichart / With Denis Jousselin
Production Théâtre du Centaure de Luxembourg / Supported by the City of Luxembourg, Ministry of Culture, National Cultural Fund
Creation 2010/ Avignon Festival 2011

 "I can only conceive of a future in a kind of permanent imbalance of the mind, for which stability is not only a dead time, but a real death" Bernard-Marie Koltès

This soliloquy is a long urban drift that tells of the impossibility of anchoring oneself, the instability, the quest and/or rejection of a normalized life, the dichotomy between day and night, the hope of an exchange. "It is a quest for an improbable dialogue in the urban night; condemned beings who try to overcome their loneliness, "deadbeats" in the trade of feelings who are unable to dominate their desire and hide their heartbreaking need for love by crying it out in an overpopulated desert; "illicit" destinies in "unapproved" places where one expects to be struck; strangers who do not belong here.

The Press

Radical. The first definition that comes to mind at the end of Denis Jousselin's performance, an hour and a quarter of an almost motionless monologue. Josée Hansen - Lêtzebuerger Land

In a black space like a Soulages painting, Denis Jousselin alone on stage, breathtaking: Through words, he conjures up absence and lack. Josée Zeimes - Le Jeudi

It would take every day of a night's talk just before the forests for us to become more aware of certain characters, for us to learn to understand the solitude of someone whom society seems to have forgotten. Mike Robert - Tageblatt




Production 2022 / Projeten
Concept and artistic direction : Stéphane Ghislain Roussel



Papess Joan is a legendary character, who, in the IXᵉ century, is said to have ascended to the papacy by posing as a man. Her pontificate is generally placed between 855 and 858. The imposture was allegedly revealed when she gave birth in public during a Corpus Christi procession. Inspired by a text by the French philosopher Émilie Hache, carried here by the actress Sophie Langevin, the video Papesse explores the contemporaneity of this figure, questioning, in a radical way, the place of women in the Christian Church and the integration of polytheism.

Concept and artistic direction Stéphane Ghislain Roussel / Papesse Jeanne Sophie Langevin / Camera Paula Onet / Music Hildegard von Bingen, " O ignee spiritus " / The voice of the angel Véronique Nosbaum / Costume La compagnie du costume - with the care of Anne-Marie Schwartz / Make-up Claudine Moureaud / Production PROJETEN


Production 2020
Concept and artistic direction from  Stéphane Ghislain Roussel


The project of Lam Lai, a composer from Hong Kong, based in the Netherlands, is to program a series of performances that will all be given on 02.02.2020, and gathered on a web platform (all artistic genres are invited). The idea being that each of these performances is given in a geographical location corresponding to a time zone. Thus, through this singular cartography, the world map will be crossed by as many forms given at the moment of entering the hours of February 2, 2020 (date forming a palindrome). 11.11.02. Baba Vanga, which will be interpreted/performed by Sophie Langevin, looks at the figure of the medium and oracles, gathering a series of predictions from mediums present in history and on the five continents and all offering a vision or the answer to a question related to the date of February 2, 2020 or the month of February. The performance will be filmed and broadcast on the 02.02.2020 platform created by Lam Lai and on the PROJETEN website.

Concept and artistic direction Stéphane Ghislain Roussel / Video Paula Onet Paula Onet / Performer Sophie Langevin/ Assistant video Jonathan Christoph / Research André Roussel
Production PROJETEN


fr / en


Sophie Langevin, artistic direction : sophielangevin@junctio.lu / tel : 00352 661 840 767
Rébiha Djafar, production manager: admin@junctio.lu | tel : 0033 (0) 6 81226647
Kalaiselvi Lecointe : broadcast : junctio@saperli-popette.fr | tel : 0033 (0) 674606486



The JUNCTiO Company was created in 2022



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JUNCTiO is a signatory of the Charter of Ethics for cultural structures drafted by the Ministry of Culture (2022)


Web Designer: Joes Koppers
Graphic identity: Esther Noyons
Photos: Bohumil Kosthoryz, Sofie Knijff


SOPHIE LANGEVIN - Artistic director

Director, actor and performer, she works between Luxembourg, France and Belgium. She trained at the Conservatoire de Luxembourg, at the Ecole du Théâtre de l'Ombre in Paris and at the Kleine Academie in Brussels.

She started under the direction of Marc Olinger, director of the Théâtre des Capucins in Luxembourg and was a permanent actor at the Centre Dramatique Nationale de Saint Etienne (France) in 1996/1997. She has performed in more than sixty contemporary and classical plays under the direction of Lotfi Achour, Louis Bonnet, Daniel Zerki, Gilles Granouillet, Pascal Antonini, Charles Muller, Eric Domenicone, Cie Octavio, Cie Iota, Myriam Muller, Martin Engler, Jérôme Konen, Renelde Pierlot, Carole Lorang, Anne Simon, and the Brussels Collective Transquinquennal, among others. Since 2020, she has been working with director Stéphane Ghislain Roussel as a performer for portraits that unfold over several years, the first of which are Baba Vanga and Papesse.

With Jako Raybaut, she has directed short fiction films Biouel, Schmol, Côtes Sauvages that have won awards in international festivals, as well as portraits of visual artists.

Between 2005 and 2007, she worked with Richard Brunel, Marja-Leena Junker, Laurent Hatat, Patrice Kerbrat and the puppet company La SOUPE, for whom she has since directed the video capsules for Je Hurle (2019). For her taste for contemporary writing, she directs L'homme assis dans le couloir by Marguerite Duras, Je ne suis jamais allé à Bagdad by Abel Neves, Les Pas perdus by Denise Bonal, La nuit juste avant les forêts  by Bernard-Marie Koltès, Hiver by Jon Fosse, Histoires de Famille by Biljana Srbljanovic, Within Spitting Distance by Taher Najib, Illusions by Ivan Viripaev, and Revolt. She said.Revolt again by Alice Birch, a show selected by the Fédération des Théâtres de Luxembourg for the Festival d'Avignon in 2019.

In 2014, she met the architect Stéphanie Laruade and the photographer Bohumil Kostohryz. She joined them to create the project for the Luxembourg Pavilion at the 2014 Venice Architecte Biennale entitled Modernity, loved, hated or ignored?. This work makes her want to "take" creation out of theaters.

In 2017, at the invitation of the Théâtre National de Luxembourg, she directed two plays in offbeat formats: Il faut qu'une porte soit ouverte ou fermée by Alfred de Musset and La Dispute by Marivaux.

In 2019, she begins projects of documentary creations. At the Théâtres de la Ville de Luxembourg, with author Ian De Toffoli, she is creating AppHuman, a show about Artificial Intelligence. At the Escher Theater, she stages the life of border women in Luxembourg with the play Les frontalières,Terra Incognita, in a stage version and as podcasts. In May 2019 she participates in a project incubator of the Commission internationale du Théâtre francophone, in Switzerland. In 2021 she joined the creative team of EKINOX; the project of the NEST ( (Coproduction NEST/Centre Dramatique Nationale de Thionville et Esch22) Grand Est) for the Capital of Culture Esch22 and realizes in this framework several pieces and sound and performative installations. The first one, L'appartement qui ne dormait pas, is a performative installation for 8 actors and 4 pieces of 20 minutes.

In the fall of 2021/22, she will be the artistic director and director with Alexandra Tobelaim and Fabienne Aulagnier of EKINOX II - La Fête des rêves, installed on the territory of Aumetz. The fall will be devoted to the writing and development of Portraits en chambre with a residency in Montreal - she is invited by the Centre des Auteurs Dramatiques (CEAD) to the Festival de la Salle des Machines where she will present her work and continue with a research laboratory in dramaturgy and project development with director Solène Paré. She will continue this work in a writing residency at the Kulturfabrik in Esch-sur-Alzette.
In January/February, she will be an actress in Tomber du monde by the Ersatz Company, directed by Camile Panza, at the Théâtre de Liège and the Halles de Schaerbeek in Brussels.
In April-May, she will direct Un homme sans but by the Norwegian author Arne Lygre, at the Théâtre National de Luxembourg.
In June, she will take over the role of Mater in Pas un pour me dire merci by Renelde Pierlot, at the Escher Theater.


With our committed thanks !