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 (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):

• • 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.

📗 Press review

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