French playwright and performer François Gremaud is set to present his latest work, Aller sans savoir où (Going Without Knowing Where), at the Théâtre des Osses in Givisiez, Switzerland, beginning April 23, 2026. The production, which blends elements of monologue, theatrical reflection, and improvised storytelling, invites audiences to consider the creative process not as a linear path but as an act of intuitive exploration. Gremaud, who serves as the sole performer, writer, and director of the piece, describes it as a meditation on artistic freedom, doubt, and the value of embracing uncertainty in creation.
The show runs through May 10, 2026, with evening performances scheduled regularly throughout its run. According to the theatre’s official programme, Aller sans savoir où resists uncomplicated categorization—it is neither a traditional play, nor a lecture, nor stand-up comedy, but exists in a space between these forms. Gremaud uses humor, personal anecdotes, and references to thinkers such as Friedrich Nietzsche and theatre director Ariane Mnouchkine to examine how artists navigate the unknown. The production is presented by the 2b company, a Lausanne-based troupe supported by the City of Lausanne, the Canton of Vaud, and Pro Helvetia, the Swiss arts council.
Gremaud’s approach emphasizes spontaneity and presence over rigid scripting. In notes shared by the theatre, he describes the work as an invitation to “harvest, without prejudice, whatever comes to mind—on paper, iPad, or elsewhere—as one walks forward.” This method, he suggests, allows ideas to develop organically, much like seeds that germinate over time. The performance builds on this idea, framing the artistic journey not as a failure when direction is unclear, but as a form of wisdom in itself.
About François Gremaud and the 2b Company
François Gremaud is a Swiss actor, playwright, and stage director known for works that challenge conventional theatrical structures. He has been associated with the 2b company since its founding, a collective that produces performances often blending text, movement, and conceptual inquiry. The company operates under a joint support agreement with public cultural institutions in western Switzerland, enabling it to develop long-term projects with institutional backing.
The Théâtre des Osses, located in the municipality of Givisiez in the canton of Fribourg, serves as a regional hub for contemporary performing arts. It regularly hosts productions from Swiss and international artists, with a particular emphasis on innovative formats and emerging voices. The venue’s 2025–2026 season includes a range of dance, theatre, and interdisciplinary works, with Aller sans savoir où positioned as one of its spring highlights.
Noémie Doutreleau, Morgane Kursner, and Michaël Monney are credited with administration, production, and diffusion for the show, according to the theatre’s documentation. Their roles ensure the logistical and promotional aspects of the production run smoothly, allowing Gremaud to focus on the artistic execution.
Themes and Artistic Approach
Aller sans savoir où centers on the idea that not knowing where one is going can be a productive state rather than a sign of confusion. Gremaud frames this mindset as essential to artistic discovery, arguing that rigid planning can stifle the very spontaneity that brings work to life. By referencing figures like Snoopy—the beloved Peanuts character known for his imaginative daydreams—alongside serious philosophers, he creates a tone that is both playful, and probing.
The performance encourages the audience to reflect on their own relationship with uncertainty, whether in creative endeavors or daily life. Rather than offering answers, the piece models a way of being in the world: attentive, open, and willing to follow intuition even when the destination remains unclear. This aligns with broader trends in contemporary theatre that prioritize process over product and value the live, unrepeatable moment of performance.
Critics and audiences who have seen earlier versions of the work note its ability to shift tone fluidly—moving from comic reflection to quiet introspection within minutes. The lack of a fixed narrative allows each performance to feel distinct, shaped by the performer’s immediate impulses and the energy of the room. This responsiveness is intentional. Gremaud views the stage not as a site for delivering a predetermined message, but as a space for shared exploration.
Context in Contemporary Swiss Theatre
Switzerland has a long tradition of supporting experimental and linguistically diverse theatre, reflecting its multilingual cultural landscape. Productions like Aller sans savoir où benefit from public funding mechanisms that allow artists to take risks without commercial pressure. Pro Helvetia, in particular, allocates grants to projects that demonstrate artistic innovation and cultural relevance, often prioritizing works that engage with societal questions through non-traditional formats.
The 2b company’s history of receiving joint support from Lausanne, Vaud, and Pro Helvetia underscores its recognized contribution to the national theatre scene. Such backing enables companies to tour nationally, develop new works over multiple seasons, and collaborate with educational institutions like La Manufacture – Haute école des arts de la scène, which is listed as a co-producer on this production.
By presenting Aller sans savoir où at the Théâtre des Osses, the venue continues its programming focus on works that challenge audience expectations. The theatre’s location in Fribourg—a bilingual canton where both French and German are spoken—adds a layer of cultural accessibility, drawing spectators from across linguistic boundaries who seek thoughtful, unconventional performances.
As of April 2026, no official recordings or televised broadcasts of Aller sans savoir où have been announced. Interested audiences are encouraged to consult the Théâtre des Osses website for the most current schedule, ticket availability, and any potential additions to the run. The theatre recommends booking in advance, particularly for weekend performances, which tend to fill quickly due to limited seating capacity.
The production stands as an invitation: to watch, to listen, and perhaps, to leave the theatre not with a clear conclusion, but with a renewed sense of curiosity about how we move forward when the map is incomplete.