Attend an exceptional performance by “La Bazooka” troupe in the museum’s meadow!

Wait for me!

At least Zouzou would be fair! She would be detached from any judgment, she would do what she feels, she wouldn’t give a damn about the public, about who is watching, what other people think. She wouldn’t try to impress, she wouldn’t care if anyone respected her, she would live her life. Yes, Zouzou would really be the perfect performer, the most abandoned being and the most embodied at the same time. »

Can reliving childhood memories create a dance? Revive solar sensations like so many pages of a diary. Let rise to the surface a dance buried in the depths of a water table that was just waiting to be awakened. A light dance that you could have in your legs, like that, without strength, until the end of your life…

Sarah Crepin and Etienne Cuppens will take you back to your childhood and adolescence thanks to a modern staging in the middle of the exhibition halls. An offbeat show where dance mixes with painting with grace and good humor.

Museum Meadow


Etienne Cuppens is a director and sound engineer. He worked at the Tréteaux de France, at the Opéra national de Paris and then at the Maison de la Culture in Le Havre. He mainly works with Jean-Paul Buisson, musician and sound engineer. In 2002, he founded La BaZooKa with Sarah Crépin and became the director of the company’s shows. He also creates the sound environments, designs the scenographic devices and offers avenues for choreographic exploration.

Sarah Crépin is a choreographer and performer. After a DUT in communication, she assisted Charles Picq in the video department of the Maison de la Danse in Lyon. In 1995, she was hired by François Raffinot, then director of the Center Chorégraphique National du Havre. She matures as a performer and is enriched by the many experiences of creations and tours abroad. In 2002, the creation of the La BaZooKa collective with Étienne Cuppens enabled them to produce pieces that echoed their imagination and affirmed a wild and fiery dance but also a taste for the absurd. La BaZooKa becomes their playground and experimentation. Since 2008, the growing activity of the company requires Sarah to devote herself fully to her artistic development.

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