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2025
🌕🌔🌓🌒🌑🌘🌗🌖🌕
September
I'll sing you a song, completely naked, in exchange for a drink
🗒 20 September 2025 – Festival WeToo, Paris
October
Grandmother's voice (My Grandmother's Voice)
🗒 16 – 18 October 2025 – La Maison des Metallos, Paris
November
Grandmother's voice (My Grandmother's Voice)
🗒 20 22 November 2025 – Théâtre de la Renaissance, Oullins
2026
🌕🌔🌓🌒🌑🌘🌗🌖🌕
February
Grandmother's voice (My Grandmother's Voice)
🗒 5 7 February 2026 – CDNO, Orléans National Drama Centre
Mars
Grandmother's voice (My Grandmother's Voice)
🗒 13 March 2026 – The Halle aux Grains, National Stage of Blois
May
Grandmother's voice (My Grandmother's Voice)
🗒 4 – 7 May 2026 – Théâtre 13, Paris
☁
Creations
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The Invocation to the Muse

In the Phèdre According to Plato, Socrates claims there is a link between erotic frenzy and poetic frenzy. We wanted to test this intuition against the facts. A poet experiencing writer's block calls upon the Muses for help in improvising a poem. However, instead of the ancient divinities, an improbable muse makes an appearance.
Mute Orpheus

Orpheus arrives in hell to reclaim his love, Eurydice, who was snatched from him by death on the very day of their wedding. To have her returned, he must sing and move the infernal deities. But broken by grief, Orpheus has lost his miraculous voice. He will have to find other ways to soften the gods – and they are proving difficult…
📗 The text of’Orpheus speechless available from Éditions Théâtrales
Diana's Bath (2020)
A lost nymph wants to return to her painting. But how can she leave her towel without risking that the public suffers the fate of Actaeon, transformed into a stag and devoured by his hounds?
Museum performance.
Hysterical Monuments (2020)

What is a monument? Etymologically: «that which must be remembered». But what to do when, at the height of an inauguration, words, memory and bodies start to go awry? Hysterical Monuments adapts to the spaces in which the performance takes place to question their memory.
Suitable for all audiences aged 10 and over.
I'm coming to your place naked to sing in exchange for a meal
How to get back in touch? Born out of lockdown, I'll come sing at your place completely naked in exchange for a meal challenges our cultural and social practices, and the economic and ecological contexts in which they are embedded, in a radical way.
Home performance.
Echo (2022)
Rejected by Narcissus, the nymph Echo is condemned to repeat the cries of despair of unhappy lovers. How can a definitive, irreversible and universal end be put to heartbreak, so that she can finally die in peace? Funny like a failed suicide, Echo explores our ambiguous relationship with erotic despair, oscillating between the sublime and the grotesque, tragedy and sitcom, opera and love song.
⏯ teaser
Songs of Grief (Love Me Tender) (2022)

What will we sing when our loved ones disappear? Vanasay Khamphommala repeats the Elvis Presley song that his father, born in Laos, asked him to perform at his (yet to come) death.
⏯ teaser
Kissmogony (2023)
The Voice of My Grandmother (2024)

Accompanied on stage by her father, Vanasay Khamphommala attempts to sing a duet with her grandmother. A significant (and not insignificant) challenge: her grandmother died in 1944. How can we connect with that which time, space, history, and culture have apparently separated us from forever?
🎥 teaser
Ganymede (in progress)

A child disappears. Upset by her beauty, the king of the gods is said to have abducted her. Yet, through the centuries, her image continues to haunt museums, our memories, and often our lives. Ganymede is an attempt to follow his trail in European territory to find him, and perhaps us with him.
Correspondence Address
Bureau of Children
40 Jules Auffret Street
93500 Pantin
HEAD OFFICE
Hair-raising slip
12 Anders Celsius Street
37200 Tours
Art Direction
Vanasay Khamphommala
vanasay@lapsuschevelu.com
ADMINISTRATION AND PRODUCTION
Bureau Kind – Kelly Angevine and Lou Marconnet
kelly@bureaukind.fr – lou@bureaukind.fr
PROJECT DEVELOPMENT AND DISSEMINATION
Cécile Jeanson
cecilejeanson@gmail.com
Newsletter
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Hair-raising slip
Lapsus chevelü aims to transform the world.
So she's interested in anything in the world that destabilises established norms to create new beauties.
Claiming its parasitic nature, it endeavours to understand systems in order to spectacularly derail them. Among these systems that it passionately subverts are narratives, genres, grammars, and spellings.
Lapsus chevelü boldly displays its trans identity: transcultural, transnational, transdisciplinary, and above all, transcendental. For her, every trans is both a means and an end.
She uses anything that lends itself to subversion as her preferred material, in literature, music, and the visual arts — Ovid, Shakespeare, Lara Fabian, to name but a few. Deeply peaceful, Lapsus Chevelü fires broadsides at aesthetic conventions.
Lapsus chevelü is undertaking a long-term project based on Ovid's Metamorphoses, which it intends to transform in turn into a monstrous performance. It involves the creation of autonomous forms which, like Ovid's poem, assemble into a larger whole. This project certainly does not forbid digressions, and even less so transgressions. Created in 2018, Lapsus chevelü is based in the Centre region – which, as its name suggests, is the epicentre of the world's transphormation.
You don't know it, but right now, you are participating in a performance by Lapsus chevelü.
Vanasay Khamphommala
Vanasay Khamphommala (ວັນນະໄຊ ຄຳພົມມາລາ) is a playwright, performer, author, translator and educator. She initially trained in singing and music, then in English and Theatre Studies (École normale supérieure, Harvard, Oxford, Paris-Sorbonne) and as an actress at the Classe libre of the Cours Florent. Since 2018, she has been creating performances and shows with her company Lapsus chevelü, including The Invocation to the Muse, Echo, I'll come sing at your place completely naked in exchange for a meal you Grandma's voice (My grandmother's voice). His work examines European mythologies from a postcolonial and post-gender perspective.
Publications and translations (selection):
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- Orpheus speechless and Venus and Adonis, éditions Théâtrales, 2018.
- Invocations to the Muse, with Lapsus chevelü, Théâtrales editions, 2025.
- Shakespeare's Spectres in the Work of Howard Barker, University of Paris-Sorbonne Press, 2015.
- Howard Barker, And, Slowly, éditions Théâtrales, 2015.
- Anne Carson, Autobiography of Red, l’Arche, 2020.
- Anne Carson, Red Doc >, Arche, 2022.
- Sarah Kane, 4.48 Psychosis, l’Arche, 2024.
- Sarah Kane, Lack, l’Arche, 2025.
- Paul B. Preciado, Counter-sexual manifesto, Au diable Vauvert, 2025.
Collaborations
Quentin Aurat • video / Marie Jolu-Planques aka Maïc Batmane • visual identity, graphic design / atelier YOUPI • web design / Juliette Besançon • stage management, general management / Julie Blanchemanche • administration / Thomas Christin • artistic collaboration, performance / Garance Degos • performance / Tom Desnos • lighting, stage management / Natalie Dessay • performance / Léa Dhieux • lighting, stage management / Pierre-François Doireau • performance / Théophile Dubus • artistic collaboration, writing, performance / Maël Fusillier • sound design, stage management / Pauline Guyonnet • lighting / Cécile Jeanson • project development, distribution / Somphet Khamphommala • performance / Hugo Kuchel • performance / Gérald Kurdian • music, sound, performance / Agatxe Layère • sound design, stage management / Tamara Lipszyc • performance / Robin Maier Wiratunga • sound design / Maud Martin • direction / Delphine Meilland • artistic collaboration, performance / Marion Montel • costumes / Kim-lan Nguyen Thi • set design / Céline Perrigon • costumes / Blaise Pettebone • artistic collaboration, performance / Paul B. Preciado • artistic collaboration / Caroline Oriot • set design / Diane Pasquet • performance / Juliette Seigneur • costume / Virus • performance
☄
Lapsus chevelü is accredited by the Ministry of Culture – DRAC Centre-Val de Loire and supported for its operations by the City of Tours.
Lapsus chevelü's projects are supported by the Institut français, the Centre-Val de Loire Region, and the Department of Indre et Loire.
Legal notice
Site editing
Le site lapsuschevelu.com est édité par la compagnie Lapsus Chevelü, association Loi 1901 dont le siège social est situé 12 rue Anders Celsius 37200 Tours, immatriculée au registre du commerce et des sociétés sous le numéro d’identification unique 837564772.
Publication
Ce site est édité par les membre de Lapsus Chevelü. Les informations concernant le responsable de publication ont été transmises à l’hébergeur conformément à la loi.
Hébergement
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Lapsus chevelü conserve ces données dans ses systèmes informatiques dans des conditions raisonnables de sécurité.
Des données de connexion (exemples : adresse IP, pays de connexion) peuvent être collectées lors de votre passage sur ce site. En naviguant sur ce site, vous consentez à nous les transmettre.
Par ailleurs, l’adresse mail que vous pouvez nous fournir pour vous abonner à notre newsletter sur la page « Nous suivre » de ce site internet ne sera utilisée que pour vous envoyer des newseltters. Vous pouvez vous désinscrire à tout moment de cette newsletter en nous envoyant un mail à kelly@lapsuschevelu.fr
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Pour toutes questions liées à la protection, la sécurité et à l’utilisation des données personnelles, contactez nous à l’adresse kelly@lapsuschevelu.com
Vous avez le droit à tout moment de réclamer la suppression d’une partie ou de l’intégralité des données personnelles vous concernant en envoyant un mail à l’adresse kelly@lapsuschevelu.com
En cas de réponse insatisfaisante, vous pouvez introduire une réclamation auprès de la Commission nationale de l’informatique et des libertés (CNIL) : https://www.cnil.fr/fr/plaintes