Les Pygmées is La Grille’s first opera with the Troupe Royale des Pygmées – a company he set up for the occasion. La Grille defined this show as a “tragicomedy embellished with music, entrées de ballet, machinery and set changes”. His puppets are “four feet tall” (roughly 1,3 metres) and behave like real people who “do not need to be held upright”. This indicates that they were presumably manipulated from below, thanks to openings in the stage floor such as those invented by Bartolomeo Neri, which Gian Domenico Ottonelli described in his treatise Della Cristiana moderazione del teatro (1652). La Grille likely drew inspiration from the way Filippo Acciaiuoli used these puppets in his own shows, during the same time period.

The Roi des Pygmées (Pygmy King) worries about the coming of the Grues and the potential disorder his daughter will cause among the generals of his army. In remembrance of her fiancé Timas, who is presumed dead, Parvulie refuses to marry Picolus. As for Pichonine, she is courted by both Picolus and Belus. The king decides to offer Pichonine to whoever defeats the Grues. Ominous signs arise after a sacrifice, and the king asks Sémiandre and Homoncius to speak with the Ciel (sky/gods). Pichonine confesses to Parvulie that she loves Belus. The envoys pass on Mars’ promise to help them in their battle against the Grues. Timas finally comes back and traps the Grues in nets: the Pygmies have won, and the king is about to promise Pichonine to Picolus – who claims to be the victorious hero. Microton declares that Belus has died, when it is in fact Picolus who did, when he was about to kill his rival Belus. Belus and Timas come back and are greeted as the true champions. Pichonine believes she will have to marry Picolus, instead of Belus. Mercure (Mercury), Soleil (the sun), Mars and Jupiter appear one after the other. Vignerons (winegrowers) and Bergers (shepherds) dance.