Lippy was widely regarded as one of the most extraordinary works to come out of Ireland in 2013 and was the winner of two OBIE Awards in New York, a Fringe First, and the Irish Times Award for Best Production. Lippy was staged at the Studio Theatre of the Grand Theatre from 29th to 31st October during Wuzhen International Theatre Festival 2019. Lippy is full of realism and absurd drama style. It used simple colours, repeated life details and fragmented narratives step by step, guiding the audience to explore the truth together.

Paperwork was produced by BetweenTwoHands (Netherlands) and staged as part of the Wuzhen International Theatre Festival 2019 in Zhaoming Academy from 26th to 28th October. Paperwork is a theatrical installation inspired by the life and work of the Prague writer, Franz Kafka. The aim is for the viewer to be able to feel as alienated, out of place or astonished as the protagonist often feels in the stories of Kafka.

BetweenTwoHands decided to work with paper because paper refers to all the paperwork involved in bureaucracy. And it is a material that can transform from 2D to 3D also represents the vulnerability of the protagonist from Kafka’s stories. As the audience, you get not only a sense of the fragility of the paper objects, but also the vulnerable nature of the protagonists.

China Shanghai International Arts Festival (ChinaSPAF) is a state-level annual international arts festival hosted by the Chinese government and organized by the Shanghai Municipal People’s Government. Which is the leading annual marketplace for new works from China to connect creators and arts professionals worldwide.

This October, Dutch Performing Arts Fund NL featured six exciting Dutch performance art companies to host a promotion presentation in ChinaSPAF 2019, an annual international art festival, aim to promote Dutch music, theatre and dance. This presentation is dedicated to strengthening the links between Dutch art workers with international art institutions. Seeking to stimulate international interest in Dutch art companies and artists with global potential. Performance Infinity proudly supported this event.

In 2018, the theatre company Told By An Idiot and the Barbican Centre collaborated to organise an improvisational experiment performance workshop “Let Me Play The Lion Too”. In an intensive two weeks, a group of 12 performers six of whom have a disability, work together to devise new improvised evenings of anarchic spontaneity. the project aims to tackle the lack of diversity of the British theatre.

This year from 22nd to 26th October, the workshop “Let Me Play The Lion Too” was presented to the Beijing Inside-Out Theatre. Collaborated with local participants of 14 performers, seven of whom have a disability, work together to discover their unique artistic expressions. It is also a valuable opportunity to engage in barrier-free art for local performance theatres. – Planned, curated, coordinated and managed the workshop with our partner organisations and artists in UK and in China.

Worked alongside with the British Council China in organising this accessible theatre workshop with the Beijing Inside-Out Theatre. We engaged the British deaf artist Bea Webster and the founder of PANTHEA Carl de Poncins to share their idea of how to make theatre more accessible.

Bea Webster is a deaf Glasgow based actor & theatre-maker and is one of the few deaf actors who are active and have a place in the British theatre world. Carl de Poncins is the founder and CEO of the Panthea Company (France). Panthea Company developed the smart glasses for performance accessibility, to display the subtitles on the glasses simultaneously in a selectable language for audiences, this solution not only make theatre audiences can overcome the language barriers, but also open more possibilities for people with disability to enjoy the theatre experience.

This workshop aims to tackle the lack of diversity of the theatre and bring the theatre experience into the lives of people with disabilities. Also, it is a valuable opportunity to share achievements in this field to the Chinese theatres and audiences.

16/5/2026-17 Shanghai, Daning Theatre (2026 Shanghai Jing’an Theatre Festival)

Happy Days is one of Nobel laureate Samuel Beckett’s most celebrated plays. This new production by Brazil’s Armazém Companhia de Teatro, directed by co-founder Paulo de Moraes, presents it as a pared-back, highly concentrated survival monologue poised between absurdity and endurance. Buried in a mound of earth, first up to her waist and then up to her neck, Winnie still wakes each day to the sound of a bell. She brushes her teeth, puts on lipstick, talks, remembers and sings. Beside her are the near-silent Willie and a bag holding everything she has against the void: a toothbrush, a mirror, lipstick and a revolver. “Another happy day,” she insists.

Armazém builds the work through a minimal stage, striking imagery, precise rhythm and Beckett’s dark humour, creating an atmosphere that sits between tragedy and comedy. Winnie’s optimism is both sincere and unsettling, and her fragility and despair keep showing through the laughter. The result is a portrait of time, companionship and the will to go on. Seen today, the play’s barren, sun-scorched landscape also echoes climate change and ecological crisis, placing one woman’s predicament in a wider contemporary context. Presented in 2026 to mark the 120th anniversary of Beckett’s birth, the production was performed in Portuguese with Chinese and English surtitles and marked its China premiere.

2/5/2026 – 4/5/2026 – Aranya, Aranya Theater A
12/09/2026 – 13/09/2026  – Shanghai, Shanghai International Dance Centre

In Du Bout Des Doigts, Belgian artists Gabriella Iacono and Grégory Grosjean turn their fingertips into dancers and miniature sets into entire worlds. A man and a woman dance together through time, living through some of the world’s greatest events, as iconic 20th-century dance pieces are reimagined on a miniature scale. Every movement is filmed in real time and projected onto a large screen. The performance combines live cinema, choreography, theatre, photography and visual art in a mesmerising dialogue between the intimate and the epic. Through the lens of the camera, the dancers revisit landmark moments in dance history: ballet, lindy hop, musicals, rock, contemporary dance and hip hop, along with nods to Pina Bausch and Anne Teresa De Keersmaeker. They stride across famous scenes from Broadway to Paris and from Brussels to Harlem.

As we follow their odyssey through the decades, the couple falls in love, argues, ignores and rebels against each other, plays, and above all dances together. In doing so, the work explores love, memory and the passage of life. Entirely wordless, the performance opens up the richness of choreographic expression to audiences of all ages, including those new to contemporary dance, and gives free rein to the imagination. Du Bout Des Doigts is a breathtaking celebration of dance, storytelling and cinematic imagination, told at the scale of a fingertip.

Two black-and-white film characters are trapped inside an endlessly looping silent movie. Every day they repeat the same actions, the same rhythm and the same story: one runs, one waits, one keeps trying, one keeps failing. Beyond the screen lies another world, full of colour, music and the sound of wind across the sand. So they begin searching for a way out. They try, fail, and try again, and gradually the unbreakable rules of their world start to loosen and its borders begin to crack. Created by Dutch company Helena.and.Goos, Vrij (FREE) blends silent-film comedy, clowning, physical theatre and live music into a story about escape and freedom.

Rather than telling us what freedom is, Vrij turns to the small, everyday moments of life: routines that hem us in, relationships that replay themselves, and the moments when we try once more even though we know the outcome. Its characters are pulled back to where they started again and again, yet they never stop moving forward. Directors and performers Helena Bittencourt and Goos Meeuwsen have collaborated with Cirque du Soleil and Compagnia Finzi Pasca and have toured across Europe and the Americas. Here they let laughter and absurdity sit side by side as they explore love, fear, habit and change. Perhaps freedom is not a final destination, but the courage to set out again and again.

25/06/2026 – 27/06/2026 2026 Aranya Theatre Festival

How long does it take for a grain of sand to become a mountain? In Er rent een berg voorbij (A Mountain Runs By), the answer is 4.54 billion years. Forests crawl across the stage, mountains crumble into beaches, coastlines appear in an instant, and the moon waltzes with the sea. Created by Plankton, the Dutch-Belgian visual theatre duo of Sonja van Ojen and Hendrik Kegels, and produced by Feikes Huis, this wordless production condenses the entire history of the Earth into about an hour. Oceans are born, continents drift, volcanoes erupt and plants slowly cover the barren land, giving deep time a shape we can see.

There are no elaborate technical effects. Instead, four performers use their voices, bodies and imagination, together with cardboard cut-outs, handmade landscapes, light and live sound, to bring ordinary materials to life. A sheet of paper, a wooden board or a beam of light can become an ocean, a rock or a mountain range. In this almost “non-human” history, humankind is not the protagonist but a fleeting moment, tiny yet capable of reshaping the planet. Poetic, playful and full of wonder for all ages, Er rent een berg voorbij connects vast geological time with today’s ecological questions. It reminds us that we are only brief visitors on a planet whose story is far longer than our own.

27/06/2026 – 28/06/2026, 2026 Aranya Theater Festival

How was love born? Why do we keep searching for it, again and again, even when we know some stories will never have an ending? Created by Barcelona-based Agrupación Señor Serrano, winner of the Silver Lion at the 2015 Venice Biennale, History of Love (Historia del amor) features a single performer taking on the impossible task of understanding why we love, and why we love the way we do. The piece unfolds through a double dramaturgy. It traces how love has been imagined across history, from a prehistoric cave to a trendy Barcelona restaurant, and sets this against the performer’s own experience of love today, leaving us to ask whether her stories are truly hers or ours. Running through it all is the myth of El Dorado, the city of gold hidden deep in the jungle that no one ever reached. Like the promise of love, it has been rewritten and reshaped across the ages, yet it remains one of the great driving forces of human existence.

The stage is a space halfway between an archive, a laboratory and a landfill, filled with the objects, remnants and debris left behind by millennia of love stories. Like both narrator and researcher, the performer finds, manipulates and dissects these traces through powerful monologues and an intense physical score. Live cameras magnify the smallest gestures and textures into vast projected landscapes, layering memory, myth and reality. Weaving together live video, objects, performance and physical theatre, the piece builds itself before the audience’s eyes. Rather than offering answers, History of Love holds up a mirror to our own ideas, frustrations and desires, revealing love not as a single linear truth but as a complex, ever-changing territory. Premiered at the GREC Festival in Barcelona in July 2025.