« I often think about it, and, letting this idea follow it’s course with no hindrance, I always end up with this conclusion that my education has caused me more harm that to all the others I know, and more than I could know about it myself. However, I can only express it from time to time, as if I am asked : « Really ? Is it possible ? Is it believable ? », I am seized with a nervous fright urging me to restrain. »
Franz Kafka, Narrative fragments
September 2019 <> June 2022 – Artist associated with Le Centre des Arts, Enghien-les-bains
Nov. 2019 – Repère/Repaire, 3 days of carte blanche given to Vincent Dupont to celebrate the end of his association with ICI-CCN Montpellier
Nov. 2019 – Cinq apparitions successives, expanded version – CREATION
Oct. 2019 – Workshop co-directed with Mathieu Bouvier for the exerce Master degree students, ICI—CCN Montpellier
April <> May 2019 – Artist in residence at the College with the Theatre of Nîmes
April 2019 – Workshop – ICI—CCN Montpellier
March 2019 – Masterclass – CDC Atelier de Paris
Jan. <> May 2019 – Air (film) On danse ? exhibition – Mucem, Marseille
Dec. 2018 – La guerre des ondes (The war of the waves), Radio project in collaboration with David Wampach
Dec. 2018 – Cinq apparitions successives – first version – CREATION
June 2018 – Refuge – CREATION
April 2018 – Workshop co-directed with Mathieu Bouvier for the exerce Master degree students, ICI—CCN Montpellier
June 2017 – Workshop, CAMPING 2017/CND Centre national de la danse
April 2017 – Workshop, ICI—CCN Montpellier
March 2017 – Cillement (exhibition) – CREATION
2016/2017 – Artistic residency in schools with l’Apostrophe, scène nationale de Cergy-Pontoise
Oct. 2016 – Mettre en pièce(s) – CREATION
March 2016 – PREAC Danse, Artistic and Cultural Education Resource Hub / Dance – Direction of the training seminar: Cross Writing / Body / Voice Articulation – “Blown Body” – ICI—CCN Montpellier
September 2015 <> December 2019 – Artist associated with ICI—CCN Montpellier, directed by Christian Rizzo
Oct. 2015 – Masterclass – CDC Atelier de Paris
Nov. 2014 – Stéréoscopia – CREATION
Oct. 2014 – Masterclass – CDC Atelier de Paris
Nov. 2013 – Air – CREATION
Aug. 2012 – L’étang suspendu – CREATION
Dec. 2011 – Air (part 1) – CREATION
June 2011 – Vague, creation for the students of the Extensions course of the CDC of Toulouse
April 2011 – Bine – CREATION
Feb. 2011 – Hauntologie – concert with Raphaëlle Latini, Théâtre de la Cité Internationale, Paris
2010 <> 2016 – Performer – Le cabaret discrépant, a project by Olivia Grandville
2010 <> 2011 – Artist associated with the CCN Tours directed by Bernardo Montet
July 2010 – Tour vertigo, performance – Matinée Chorégraphique (Chinon) directed by Francis Plisson
June 2010 – Souffles – CREATION
March <> June 2010 – workshop for the ESSAIS Master students – CNDC Angers directed by Emmanuelle Huynh
Nov. 009 – « Grands ateliers » la lumière une matière ? – workshop co-directed with Yves Godin – CCN Tours directed by Bernardo Montet
Sept. <> Oct. 2009 – workshop for the ESSAIS Master students – CNDC Angers directed by Emmanuelle Huynh
April 2009 – Plongée (choreographic fiction) – CREATION
Dec. 2008 – Point d’orgue 2 – a projet by Yves Godin
2008 – Actor, sans faim et sans faim… (2) – Text and direction by Hubert Colas, Théâtre National de la Colline, Paris
2007 – SACD award: “New Choreographic Talent” prize for the year 2007
Nov. 2007 – Incantus – CREATION
Sept. 2007 – Actor, Canyon – a film by Boris Jean
Jan. 2007 – Actor, La forêt du monde – a film by Bruno Rolland
Oct. 2005 – Hauts Cris (miniature) – CREATION
Nov. 2003 – Dikrõmatik – CREATION
Nov. 2001 – Jachères improvisations – CREATION
Oct. 2001 – Actor, Sur la grand’route (Anton Chekhov) – directed by Antoine Caubet
Jan. 2000 – Actor, La fin de l’amour (Christine Angot) – directed by Hubert Colas
1999 <> 2003 – Dancer, performer – Con forts fleuve – by Boris Charmatz
1997 <> 2005 – Dancer, performer, herses (une lente introduction) – by Boris Charmatz
April 1997 – Le verdict – CREATION – Carte Blanche of the Experimental Academy of Theatres, Paris
May 1996 – Actor, Electre (Sophocles) – directed by Antoine Caubet
Feb. 1996 – Actor, Montagne (text adapted from Thomas Mann Der Zauberberg) – directed by Antoine Caubet
1995 – Actor, Dramuscules (Thomas Bernhardt) – directed by Antoine Caubet
May 1994 – Actor, J’ai pas sommeil – a film by Claire Denis
Jan. 1992 – Actor, Les épaves – a film by Boris Jean
My architectural diploma with Italo Calvino’s “Invisible cities” in my pocket, I discovered, amazed, the world of performing arts in 1987 : it was the meeting of Dominique Fabrègue, then costume designer for choreographer Dominique Bagouet. Quickly, I consolidate my self-taught technique of cutting and sewing through training in costume making at GRETA in Bagnolet, and in immersion in Turin in the De Valle workshop and at the Regio theater.
Decade 90 : I made my first costume creations, while keeping links with plastic arts and architects (posters, colorization of perspectives, realizations of models of landscapes and relief plans for the Futuroscope, the City of Sciences, the Universal Exhibition of Seville…). The 95s are also an incursion into the advertising field (arrangement of windows, styling and assistance with the shooting for Young & Rubicam, Publicis…).
Since then, I have dedicated myself to the design and production of costumes and accessories for live performance, solo or as part of a team. I also assisted Dominique Fabrègue for twenty years, for his creations and his research on the technique of cutting in “1 piece”.
My professionnal path has notably crossed that of choreographers Odile Duboc, Vincent Dupont, Béatrice Massin, Mathilde Monnier, Hervé Robbe, Christian Rizzo, David Wampach, directors Nelly Borgeaud, Charles Joris, Catherine Marnas, musicians Michel Arbatz, Philippe Katerine, Thierry Pécou, scenographers and visual artists Richard Deacon, Annie Tolleter, writers Christine Angot, Tanguy Viel… not to mention the performers, artists and technicians who surrounded them.
Clément Aubert discovered contemporary dance at the University of Tours.
From 2008 to 2011, he danced for the Jackie Taffanel in Montpellier.
In 2009, he joined the Transform training linked to the Choreographic Research and Composition Program of the Royaumont Abbey, then directed by the choreographer Myriam Gourfink. He will dance for her from 2011 to 2016.
In 2016 and 2017, he was an interpreter and collaborator for Vincent Dupont and from 2017 to 2020 for Cédric Cherdel.
Certified practitioner of the Feldenkrais method, he works in the field of pedagogy for audiences of all ages and all levels.
In 2019/20, he created his first solo, Danse avec le yak, an epic and quixotic contemporary western. This work is done in collaboration with the Théâtre de Vanves, the CCN and the University of Tours, the PAD d’Angers and the CDCN de la Briqueterie. In addition to this first opus, Clément Aubert is the winner of the Sur Mesure 2018 program from the Institut Français, for Weastern, a traveling project of artistic exchanges and transmission between Lebanon, France and Morocco.
Fabrice Augé-Dedieu trained in singing and acting, notably with Cathy Missika, Frédéric Fayes, Chantal Mior and Jean-Michel Rabeux. He collaborates in the theatrical productions of the 6T company : A Midsummer Night’s dream by Shakespeare and Une soirée tranquille by Christian Palustran, directed by Hassen Chaouche. With the company European stage, he plays the musical shows of Christian Schittenhelm Big Bang Bulle, La petite fille aux allumettes and La petite sirène. In the field of lyrical singing, he performed Les Contes d’Hoffmann by Jérôme Savary, then Le financier et le savetier by the same composer for the company Colorature.
He sings he works of contemporary composer Dominique Dupray, devotes himself to vocal jazz and improvisation with La Louve and, child of Théâtre du Lierre, plunges into a pot of world music with the group Tempo Libre, the creation of the company Fun Douk, while leading singing workshops at the Quai Branly museum, at the University of Evry and within associations and music schools.
Youmi Bazoge was born in 1996 into a family of artists.
She grew up in the family troupe, Cirque Pacotille. Immersed in the world of shows and travel, she learned the different arts of circus, music and dance.
In 2011, she joined the Montpellier Conservatory in the contemporary dance and violin classes.
After finishing her studies at the conservatory in 2015, she met the choreographer Anne Lopez and joined the company Les Gens du Quai in Montpellier.
She also started the traditionnal music group Bargainatt with her borther and two chilhood friends.
For the past fifteen years, he has been imagining lighting devices in different fields : music, theater, dance, plastic art… He leaves an essential place to the sensitive relationship of light to the stage.
He regularly collaborates with the company “à” (Dorothée Saysombat and Nicolas Alline) on their theatrical universe based on objects.
Working in the collective aïe aïe aïe, he made the light creation of Beastie Queen and Gargantua directed by Julien Mellano.
At the same time, he took over the lighting management of Je tremble 1 and 2 (2008), of Ma Chambre Froide (2011) by Joël Pommerat. Eric Soyer’s work on light leads to high standards.
In 2013 he assisted Marie-Christine Soma on the light creation Au bord du Gouffre by David Wojnarowicz, directed by Cédric Gourmelon.
Returning to concert paths, he shines the spotlight on the concerts for young audiences Panique au bois and Dream City by Soul Béton.
At the beginning of 2014 the Pabloff Brothers invited him to the creation of La Cour des Grands for the lighting and the ordering system of their videos.
At the same time, he takes over the lighting management for Stéréoscopia by Vincent Dupont, lighting creation by Arnaud Lavisse.
In 2015, the company “à” called on him to create Made in China in China. He worked closely with them on the overall rhythm of light, sound and stage.
Light creation in 2016 at the TNB directing festival for the 4ème Mur directed by Arnaud Stéphan.
Between 2017 and 2019 Nicolas Bonneau called on him to give a bright framework to his work as a documentary storyteller.
Videographer, video manager
Vincent Bosc as born in Montpellier in 1977.
He came to video through the practice of plastic arts and music. His first focus was on making experimental videos. This practice has led him to collaborate with choreographers interested in his recordings of engaged and creative shows. The collaboration with Jeannette Dumeix will allow him to film many choreographers in their creation process (Boris Charmatz, Laura De Nercy, Odile Duboc, Emmanuelle Huynh, Loïc Touzé, etc.).
At the end of the 90s, he met Hervé Robbe who then developed an image center within the CCN in Le Havre. Together, they explore the theme of staging and image space. Their collaboration questions dance in its representation and the body filmed in motion. It is a matter of bringing together scenic and cinematographic logics, of questioning the place of video on the set, the confrontation between recorded image and living image, the posture of the camera, its ambiguity, its subjectivity, its place in the action and its relation to the performers.
At the same time, many encounters allow him to diversify his visual experiences for dance and theater. He works with Andrea Cera, Alain Buffard, Edmond Russo, Shlomi Tuizer, Sarah Crépin, Etienne Cuppens, Vincent Dupont, David Wampach, Thierry Thieu Niang, David Bobbée, etc.
Mathieu Bouvier is a visual artist, playwright and researcher, contractual doctoral student in art at the University of Paris 8 Saint-Denis.
He films, photographs and writes in search of a gesture in the mind, a song in the eye, a long time ago in the belly : https://www.mathieubouvier.net
Since 1997, he assiduously frequents the field of contemporary dance as a videographer, scenographer and playwright with, among others, Loïc Touzé, Yasmine Hugonnet, Catherine Contour, Mylène Benoît, Vincent Dupont, Sorour Darabi, DD Dorvillier, etc. In 2016-2017, in collaboration with the choreographer Loïc Touzé, he directs at The Manufacture – HETSR of Lausanne/He.So – a research program entitled Le travail de la figure. Que donne à voir une danse ? and published on the website : http://pourunatlasdesfigures.net/
Under the co-supervision of Catherine Perret and Isabelle Launay, her doctoral research focuses on Les intrigues du geste. Pour une approche figurale du geste dansé.
Élisabeth Caravella est une artiste vidéaste française née en 1986. De nature autodidacte, elle s’initie dès l’adolescence à la vidéo, au net art et à l’image de synthèse.
Son intérêt pour les arts numériques l’amène en 2007 à suivre un cursus artistique à l’École Européenne Supérieure de l’Image (EESI). Elle y réalisera notamment Coup de fil anonyme (2009), un film expérimental animé sous le logiciel Photoshop.
En 2010, elle s’intéresse à la motion capture et à la stéréoscopie et réalise Pianocktail, un court-métrage d’animation en relief qui remporte le premier prix du Film Hors Normes à la Géode.
Elle poursuit ses études aux Arts Décoratifs de Paris et réalise Il n’y a pas de route (2011), un autoportrait vidéo mêlant documentaire et installation.
En 2012, elle entre au Fresnoy et fait la rencontre de Miguel Gomes et de Robert Henke (alias Monolake). Elle réalise pour sa première année le court métrage de fiction Une pâte brisée, une histoire sans drame (2013) puis Howto (2014), un tutoriel vidéo adapté au cinéma.
En 2018, elle réalise enfin Krisis, une machinima VR.
Alicja Czyczel (born in 1991 in Gdynia, near the Baltic Sea, Poland) lives and works as dancer and choreographer between France and Poland.
Her artistic practice is guided by her strong interest in improvisation and somatics. She delves into the imagination to widen the boundaries between the living and the inanimate. She investigates movement of attention and produces spoken-word poetry and vocal performance in relation to environment, body and soundscapes. She develops site-specific projects, choreographic workshops for kids and performative walks with the desire to extend choreography beyond the dance studio and theater stage to the cultural peripheries.
She is a graduate of Exerce, Master in choreography, at the ICI-CCN in Montpellier (2017-2019). Moreover, she holds a Bachelor degree in film studies (2013) and Master degree in interdisciplinary studies in the humanities and social sciences (2016). Her Master’s thesis on performance documentation won a special prize for the best dissertation on the history of Polish theater in a competition organized by the Theater Institute in Warsaw.
She was scholarship holder of Young Poland 2018 from the Polish Ministry of Culture and National Heritage, of Alternative Dance Academy 2018 organized by Art Stations Foundation and of danceWEB 2019
En cours d’écriture
Après 15 ans de pratique du football et un Master de biochimie, il découvre la danse à vingt ans et se forme au CDC de Toulouse alors dirigé par Annie Bozzini.
Depuis, il a collaboré en tant qu’interprète avec Christian et François Ben Aim, Nathalie Pernette (Le Repas), Bernardo Montet (Des Hommes), Éric Arnal Burtschy (BUB), Groupe en Fonction (The Playground), Thomas Ferrand, la compagnie Volubilis.
Il collabore régulièrement avec des plasticiens sur des créations-performances autour du culinaire, du vivant et du paysage (Olivier Dohin, Nicolas Silmarik, Quand Même).
En 2008, il crée une pièce solo choréo-footballistique pour l’espace public, 10ème Minute Corner qu’il danse dans différentes villes d’Europe.
Il travaille depuis 2017 avec Vincent Dupont sur ses trois dernières créations (Mettre en Pièce(s), Refuge, Cinq apparitions successives) qui convoquent l’interaction entre le mouvement, la voix amplifiée et le souffle.
Née le 4 mars 1989 à Libreville au Gabon, Kaisha Essiane est une danseuse professionnelle formée à l’École des Sables de Germaine Acogny au Sénégal.
Elle intègre en 2015 le master exerce du CCN de Montpellier. Ouverte d’esprit, elle se distingue par la polyvalence de sa pratique. Elle participe à plusieurs projets chorégraphiques au Sénégal, au Gabon et aux Pays-Bas et se positionne dans son pays en tant qu’actrice culturelle.
Elle mène en parallèle ses projets chorégraphiques personnels.
Depuis 2019, elle a créé sa structure, L’Agence de Danse, dont le but est de promouvoir la création chorégraphique et une danse professionnelle au Gabon.
Sound producer, sound manager
Maxime Fabre is a sound designer and manager who has been working on shows and concerts since 2002.
As a musician, soundtrack and studio engineer, he has worked with various bands such as : The Psychologist & his medicine band, The Finkielkrauts, Janski Beaaats…
He as also contributed to several projects linked with the National Centre of Musical Production La Muse en circuit and he is working with many choreographers or directors (Thomas Lebrun, Julie Brochen, Jean Boillot, Vincent Dupont…).
Coming from a training in classical and contemporary dance, Téo Fdida danced for the Akram Khan Dance Co at the Center chorégraphique national de Bourgogne for Anne-Marie Reynaud, in the companies of Jean-François Duroure, Lionel Hoche, Gigi Caciuleanu, Pal Frenak, Luc Petton, Félix Ruckert, Michèle Noiret, Corinne Lanselle, Boyzie Cekwana, Willi Dorner, Gilles Vérièpe, Christian Bakalov.
He collaborates on projects as a dancer and choreographer, for advertising, fashion and television.
He founded his company, created Triptok, p & m and éphantasma.
He was awarded the prize for the Villa Médicis Hors les Murs – AFAA research and creation program to carry out research on possession dances in Africa.
He is making an ethnodance film, Vodou Kokou, the dance of the possessed, screened at the Musée de l’Homme and the Musée de l’Immigration as part of the L’autre et le Sacré festival in Paris.
He also choreographs for theatrical productions by Gil Guillot, Nils Arestrup, Pierre Vincent, Elvire Lenciu and David Ayala.
State graduate in dance, practitioner of the Feldenkrais Method, Pilates instructor, holder of a Masters in Modern Letters, he develops an educational approach which tends to use the tools of dance, its study and its knowledge of the body and the body movement at the service of a path of personal development and an improvement of art, autonomy, creativity and well-being of each. These somatic education practices allowed him to refine his creativity, sharpen his functional knowledge of the body and nourish his pedagogy. He regularly teaches dance at the Ménagerie de Verre, at the Centre National de la Danse de Pantin, at ACTS Ecole supérieure chorégraphique and in the Conservatories.
Singer, flautist, choir director, teacher, Anne Garcenot trained in various places of musical education in Paris. She meets and works with trainers, companies and artists with decisive repertoires in her career as a singer : François Combeau, Valéry Joly, Antoine Geoffroy Dechaume, Ensemble Perceval, Giovanna Marini, Jean Golgevit and the repertoire of yiddish songs.
She purses vocal research through these multiples repertoires for which she is either a performer, a teacher or a composer and arranger.
Anne Garcenot created in 2010 the trio Zyriab Café and explored with it the repertoire of Sepharadic songs.
She is also a teacher at the Marcoussis School of Arts, a place where she has been developing a specific pedagogy for many years, pedagogy linked to the cultural dynamism of the city.
Communication, tour manager
Initially a laboratory technician in bacteriology, Audrey Gendre came to performing arts during her studies in art history.
She worked for ten years with the company Théâtre à cru and actively participated in the management of the Volapük project, a space dedicated to contemporary writings in Tours.
She is now in charge of production for several companies including that of Vincent Dupont, Pauline Bayle (A tire d’aile), or the early music ensemble Doulce Mémoire…
In addition to her administrative activities, she is also a costume designer and dresser, and has a keen interest in radio documentaries through sound experiences that she designs and develops on her own.
Set conception and construction, general manager
Decorator and general manager, Sylvain Giraudeau works mainly with choreographers Kitsou Dubois, Rachid Ouramdane and Vincent Dupont.
He has been working with thim since 2010 and created the sets for Souffles, Air, Stereoscopia, Mettre en pièce(s), and Refuge.
Graduated from the Rennes Institute of Political Studies, Charlotte Giteau then obtained a Masters 2 in research “History and theory of politics” at the Institute of Political Studies in Paris, then a professional Masters 2 “Politics and management of culture in Europe ”at the University of Paris VIII.
Since 2007 she has been the administrator of several contemporary dance companies. She’s been working for J’y pense souvent (…) since 2015.
She is also the administrator of Météores, a choreographic production platform in Nantes, and of Margelles, a production structure in Montreuil, particularly supporting choreographic projects by Pauline Le Boulba.
At the same time, she leads as a musician several musical projects (Par le gast va grantaleure, The Spectrum between…).
Born in 1964, Olivia Grandville received classical training at the Paris Opera Ballet School and in 1981 joined the corps de ballet. Between 1981 and 1988, the date of her resignation, she had the opportunity to explore, in addition to the classical repertoire, works by Balanchine, Limon, Cunningham, to participate in creations by Maguy Marin, Dominique Bagouet, Bob Wilson, etc.
In 1989, she joined the Bagouet company and participated in all creations until 1992. This is where she begins to lead personal projects.
Passionate about the polysemous dimension of dance and in particular by the correspondences between the verb and the gesture, she brings into play a combinatorial aesthetic which places the body at the center of a network of relations with other mediums of live performance (text, sound, music, light, image…). His attention to the quality and phrasing of movement participates in this construction, as a complex and articulated poetic language.
In 2004, she created Comment Taire which inaugurated a period of research around the capture of gesture in a sound processing environment. Then My Space in 2008 at the Center Pompidou.
In 2010 she created, following a commission, a piece for the Ballet national de Marseille around the figure of the romantic ballerina, entitled Ci-Giselle.
The same year, she received a commission from the Avignon Festival. There, she created Une Semaine d’Art en Avignon with Léone Nogarède and Catherine Legrand, as part of the Sujets à Vif.
Le Cabaret Discrépant, the fruit of her research work on lettrist choreographic scores since 2008, was created in 2011; it was presented notably at the Avignon festival in July 2011.
In January 2012, in collaboration with the ensemble] h [iatus, she premiered Cinq Ryoanji, based on the eponymous work by John Cage.
Alongside her work as a choreographer, she is also a teacher, improviser, and performer, recently with Vincent Dupont (Incantus) and Boris Charmatz (Flipbook, La levée des conflits).
Light designer, Yves Godin collaborated at the beginning of the 1990s in projects with various choreographers (Hervé Robbe, Georges Appaix, Fattoumi & Lamoureux), exploring a wide range of aesthetic experimentations.
He then worked with several musicians, visual artists and choreographers (Alain Michard, Kasper Toeplitz, Rachid Ouramdane, Julie Nioche, Emmanuelle Huynh, Claude Wampler, Ingrid Van Wantoch Rekowski, Christian Sébille, Maria Donata d’Urso, Jennifer Lacey & Nadia Lauro, Alain Buffard, Vincent Dupont, Olivia Grandville, Thierry Balasse, Michel Schweitzer).
His approach rests in the idea that light is independent from dance, music or text, but which could set up resonance with the other components on the stage, acts by working around two principal axes : perception of time and space and the weaving of a network of links, more or less anachronistic with the other elements present (body, sounds, thought, time).
Nowadays he collaborates with Olivia Grandville, Boris Charmatz and Vincent Dupont.
He has also created the light installations in the exhibition Legend of the Domaine de Chamarande (2008) at the inauguration of LiFE (St Nazaire, 2008) with Life light installation, also in the happening of étrangler le temps (préfiguration at the Musée de la danse, april 2009, Le Garage-Rennes), and with the light installation Fiat Lux for a Volkswagen garage. He has also participated in the expo zéro by the Musée de la danse of Rennes at the LiFE (St Nazaire, 2009).
With Point d’orgue, setting for 1000 candles, he has invited performers to occupy this installation since 2008. Opéra Ampérique, concert for wall light effect and electric guitars is the first part of a new project which approaches the process of light transfer and diversion.
After training at the National Conservatory of Music and Dance in Lyon, Ariane Guitton was hired by the Ballet of the Opéra National de Lyon in 1993.
Until 1996, she performed, among others, works by Dominique Bagouet, Bill T Jones , Maguy Marin, Stephen Petronio, Martino Muller, Angelin Preljocaj. She then collaborated abroad with choreographers Rami Levi, Joanne Leighton, Andonis Foniadakis and Josu Zabala.
In January 2000, she joined Hervé Robbe at the CCN in Le Havre and participated in his projects until 2004.
From 2004 to date, she has been called upon by the company Affari Esteri, as a performer and choreographic writing assistant for the projects: Airports (tenses 1) (2005), Les Avenants (tenses 2-3) (2007), Inside ##### (2009), Lings (2010), Embrace (2011) and Tempéraments (2013-2014).
In 2011, she began a collaboration with Julie Nioche and Virginie Mira as the interpreter of the Voleuse project.
At the same time, she trained in Vinyasa Yoga and teaches it in Paris since 2008.
Sound engineer and sound designer (ENSATT School Theater 1983)
Christophe Hauser began his professional career in the theater with Roger Planchon, Jérôme Savary and Klaus Michael Grüber, collaborating on major productions. Until 2006 he worked as a composer at Warner Chappell Music and wrote music for television productions. The former technical director of the National Center for Musical Creation “La Muse en Circuit” (Paris 2000-2008), he established his own mobile recording structure, FreeBaseStudio, in 2009, and mixes his projects in his Paris studio. He has participated in many creative projects in music, theater, dance and the circus arts. He handles recording, mixing and mastering for albums of an innovative genre, in both contemporary and world music. He is solicited by such labels as Universal Jazz, Naïve, Accords Croisés, L’Empreinte Digitale, Editions Billaudot.
He teaches sound techniques at the PoleSup93 (Paris).
Collaborations with Pierre Henry, Laurence Equilbey, François Chaignaud, Camille, Serge Teyssot-Gay, Martin Matalon, Ensemble Ars Nova, Scanner, Zad Moultaka, Michel Portal, Jérôme Deschamps, Jacques Coursil, Tomas Gubitch, Georges Aperghis, Ensemble Inter Contemporain, Juan José Mosalini, Bernard Cavanna, Nosfell.
The Louvre Auditorium (Paris), The Arab Institute (Paris), Opéra Comique (Paris), Chaillot National Theater (Paris), Ile-de-France Festival, Metropolitan theatre (Tokyo), Avignon Festival, Beirut Music & Art Festival (Lebanon), Teatro Colon (Buenos Aires), Angers-Nantes Opera, etc. have solicited his work.
After studying cinema at the CLCF (Free Conservatory of French Cinema), Boris Jean worked as a model maker alongside Moebius (Jean Giraud) for Aedena editions. Then he directed Les Épaves, a short science fiction film that he wrote, photographed and decorated. The film won the Grand Prix of the Avoriaz Festival and the Aaton Camera Prize for the image.
At the same time as his activity as chief decorator for live shows, cinema and advertising (150 sets), he created a miniature universe made mainly from recycled materials, which he films and photographs. Based on an inverted play of light, these poetic and futuristic works invent the spectator to make his own capture, his own images.
In partnership with ESA and NASA, he created the Astrolabe Experience in a recycled container, a space flight simulator that offers to reveal the fragile beauty of our planet.
The evocative power of sunlight is found in the paintings he makes with spray paint on various recycled materials, such as 33 rpm records or cardboard advertisements (Galerie Géraldine Banier).
He also gives workshops for children and adolescents around recycling, miniatures and images.
Valérie Joly studied opera at the CNR in Boulogne, then specialised in the study of songs of the world and extra-European vocal techniques.
She won a Villa Médicis award in 1992 ; her studies then took her to Egypt, where she sang at the Cairo opera.
She takes part in many contemporary musical theatre productions : she has collaborated for many years with Farid Paya at the Théâtre du Lierre in Paris, and took part in an opera with Robert Cantarella, and performed in Euripides’ Bacchantes, directed by Jean-Yves Penafiel.
She has worked as a soloist with composers Pascal Dusapin (Romeo and Juliet and Georges Aperghis Sextuor, which won the Diapason d’Or award in 1995 and the Orphée d’Or in 1997) ; she has also co-performed compositions by Patrick Marcland, Philippe Le Goff, Marc Lauras, Michel Musseau, Giuliano d’Angiolini, Jean-Claude Eloy, Kasper Toeplitz, Christian Sebille, Patrick Roudier, and Hughes de Courson, Georgia Spiropoulos… and recorded many CD.
She created the vocal quartet Nomad. Grand prix de l’Académie Charles Cros.
She enjoys working with choreographers (Marceline Lartigue, Emmanuelle Huynh, Olivia Grandville, Nieke Swennen…). Since 2005 she works on all Vincent Dupont’s productions.
She sang solo in Amer (mourning songs from the Mediterranean basin), a production directed by Philippe Dormoy on which she based the Mediterranean Women’s Voices festival in Paris in 1996 (Théâtre du Lierre).
Her work as a vocal composer entails passionate research. She won the AFAA/Beaumarchais En-Quête d’Auteurs prize in 2000, and was awarded a grant from the Franco-Chinese foundation for culture and education ; she made three research trips to Taiwan, Bali and Australia to compose a vocal score for three female voices and one male : the result, Eau forte, in 2001, was her first musical composition ; the stage production production was directed by Philippe Dormoy.
Then came Silences for three singers and a dancer about violence on women, Frontières for two singers, one dancer and a 13 women choir, Echolalie for one voice one violin and electronic soundtrack, Lear, conte à rebours, for an actor and a singer…
Valérie has supplemented these activities with polyphonic workshops for children, adolescents, adults, teachers, youth workers, actor-singers, dancers, professionals and beginners…
While in joint charge of education at the Théâtre du Lierre from 1986 to 1996, she and Philippe Dormoy conducted research into processional songs. As a result, they developed a series of workshops exploring primal voices, founding myths and original songs.
She teaches vocal technic and polyphonic workshops in various institutions (singing schools, conservatories, dance schools, CFMI, IUFM, CNCM), works in hostels for mothers and children, and since 2002 has taught prenatal singing in individual or group classes. She also teaches singing in a clown school, Le Samovar.
She accompanies vocal or musical work for different theater or music projects as coach : Pink Floyd – The dark side of the moon and Cosmos by Thierry Balasse (2012 and 2018), Corps de femmes – Le Ballon ovale, Les enfants de la terreur and Murs de Fresnes staged by Judith Depaule (2012 and 2018), Parlaparole (2012) and I love you Didier Galas staged by Christian Rizzo (2013), Hantologie (2014) and Chef de corps (2016) for compagnie Entorse, Pourquoi ne sais-tu pas marcher dans la neige? by Nicolas Turicchia (2018/2019), Les poèmes Mayas de Briceida Cuevas written for voice and music by Hilda Parades (2019).
Planned for 2020 Le terrier Kafka and Seule à seul(e), a solo performance, and for 2021 a duet, Là-bas, with her sister.
Musician et composer
Born in 1977.
Works or has worked with Antoine Antoine Antoine, Pascal Battus, Alex Beaupain, Bertrand Belin, Blast, Yannick Butel, Jean-Marc Butty, Marylène Carre, Arnaud Churin, Thomas Ferrand, Grand Parc, Yves Godin, François Lanel, Fiodor Novski, Katel, Sophie Lamarche-Damour, Frédéric Leterrier, Bernardo Montet, Antonin Ménard, Seijiro Murayama, newpauletteorchestra, Rachid Ouramdane, Palo Alto, Pink Crash, Alexandre Plank, Virginie Vaillant…
Born in N’Djaména, Nanyadji Ka-Gara very early developed a passion for the arts, especially theater, dance and photography, which led her to train at the Poitiers theater conservatory and subsequently at ESTBA ( Superior Theater School of Bordeaux in Aquitaine) directed by Dominique Pitoiset and Gerard Laurent, she will finish her studies by playing in the play Machine Feydeau under the direction of directors Yann-Joel Collin and Éric Louis.
She also trained in dance during masterclasses in France and Burkina-Faso and by dancing in the troupe of traditional African dances and percussion Djembé Sacré directed by Valérie Chauvet and Omar Diop, as well as within the research group University choreography of Poitiers, directed by Isabelle Lamothe ; she will work there with the choreographers Christian Bourigault, Jackie Taffanel and Dimitri Tsiapkinis.
Attracted by poetry, political speeches and the beauty that a dialogue between text, body and voice can offer.
Nanyadji works in both theatrical and choreographic productions involving voice, song… She works as an actress with the director Aristide Tarnagda in Roméo et Juliette by Shakespeare, Plaidoirie pour vendre le congo by Sinzo Anza, Pistes by Penda Diouf, the director Thierry Bedard in Un monde idéal, the director on stage Thomas Visonneau in Horace by Pierre Corneille, the director Silvano Voltolina in ID +/- by Roberto Fratini Serafide, with the group Apache in the literary banquet Sodome et Gomorrhe by Proust.
She works as an interpreter / performer with the choreographer Vincent Dupont in Mettre en pièce (s), the choreographer Nina Santes in Hymen Hymne, the choreographer Lenio Kaklea in Encyclopédie pratique, détours, the choreographer Marion Alzieu in Si c’est une fille.
Nanyadji collaborates with the actress and author Julie Teuf in the play Claustria, presented at the National Theater of Bordeaux in Aquitaine (TNBA) during the 2013 Novart Festival as well as in the play Cendrillon written by Julie Teuf.
Sensitive to the transmission and the opportunities for exchanges and meetings that this allows, Nanyadji has also conducted dance and theater workshops at the EPCC in Guyana, in partnership with IDDAC and TNBA, at CCNO, at TAP…
Off set, she creates with the artist Yaya Sarria the exhibition and installation Discovering your identity and making others discover carried by the Association Untendanses (France) and the company Sabot du vent (Chad), exhibition presented at Chad, Cameroon and France. This project is his first photographic work presented publicly.
Kidows Kim was born in South Korea in a satellite town.
He first studied graphic design in Korea before moving to Paris to study mime. He then followed a choreographic training at the CNDC of Angers, and continued his research within the master’s exercise at the Centre Chorégraphique National de Montpellier from 2018 to 2020.
He considers himself a revealer of monsters. His artistic languages wander between the figurative and the abstract where monstrosity is omnipresent to reveal strange beings. He tries to extract the grotesque fantasy and extreme absurdity that lurks in the prosaic. He focuses his attention on recognizable images or shapes and is interested in the process of deformation. He thus seeks to reveal the hidden facets of the human body. By using error, apparition and accident in handling everyday objects, he wants to illuminate the most disturbing aspects of reality. Its intention is to explore an aesthetic of chaos through strange and fantastic creatures depicting the fringes of society and its inner repressed.
In particular, he attaches great importance to the practice of the body as well as the destructuring of the limbs and the voice associated with the intuition of the deformation. He is like a discreet instrument that improvises around destruction.
Émilie Labédan is a dancer and, since 2013, a choreographer with La Canine.
A few years ago she trained at the CDCN in Toulouse.
His work is fueled by an interest in everything related to memory. She builds with spaces and bodies, magnetic tensions and troubles where dance and places are crossed by complex emotions. She works around constantly changing body materials and questions what remains of her journeys.
At the same time, she is developing a work as an interpreter in the company K622 – Mié Coquempot and in the company J’y Pense Souvent – Vincent Dupont.
At the same time, she took part in numerous short films at the Toulouse Audiovisual School, perfected her skills as an actress, and took a keen interest in making and directing a film. His staging research is borrowed from these visions and working methods.
She is a state graduate in contemporary dance and is certified in AFCMD (Functional Analysis of the Body in the Dance Movement) training founded by Odile Rouquet and Hubert Godard.
She is also involved in pedagogy and intervenes in several structures with audiences from multiple backgrounds.
Singer and actor
Actor and singer, Wahid Lamamra participates in the creation of pieces from the classical and contemporary theatrical repertoire, in many musical creations : musical theater, operas, contemporary operas, musicals, choreographic creations, and in multiple productions of live performances that combine different artistic disciplines, and more occasionally with the staging of shows. His artistic choices have led him to work under the direction of Richard Foreman, Jérôme Savary, Jacques Lassalle, Philippe Minyana, Robert Cantarella, Jean-Louis Martinoty, Medhi Charef, Jean-Luc Paliès, François Joxe, Marie-Noël Rio, Stéphane Braunschweig, Matthew Jocelyn, Hans Peter Cloos and Jean-Claude Gallotta. And in the cinema in the works of Sally Potter, Hervé Pernot, Francis Huster.
Along with his stage activities, he is ccasionally in charge of various cultural events.
Director, notably at the Théâtre de la Colombe in Amiens, he produced several musical shows including the adaptation of Les jeux de l’amour et du hasard by Marivaux, La beauté du diable by René Clair, according to the legend by Faust. The capella vocal trio Les Mouettes entrusted him with its artistic direction and staging and more recently still, he staged the opera Cache-cache composed by Julien Joubert on a libretto by Eric Herbette.
Aline Landreau took part in the Formation d’Artiste Chorégraphique (FAC) at the National Contemporary Dance Centre in Angers, under the direction of Emmanuelle Huynh between 2005 and 2007, following a foray into the Conservatory of Bordeaux and studying philosophy. She then joined in 2009 the Essais program dedicated to emerging choreographic investigations, to develop performative and sound devices bordering on the visual arts, and jointly obtained a Master II from the University of Paris 8 – Saint Denis.
Her work questions the location of perceptual disturbance within the formal and symbolic framework of theater, and the fiction of an archaic identity, through movement, voice and scenography.
Aline is also a performer, collaborator or assistant for choreographers such as Loïc Touzé, Kosei Sakamoto, Emmanuelle Huynh and Vincent Dupont.
In 2010, she co-funded Météores, a constellation of young choreographers based in Nantes, in order to actively understand what an artistic community can be at work.
In 2014, she performed with the visual artist Stefanie Rauch in Vienna for her project Gelände, and joined the On orientations I on practicing by Ian Kaler with trumpeter Pablo Giw.
She has also collaborated for several years with photographer Dephine Perrin and in 2012 received the Danceweb / Wild Cards grant for the Impulstanz Festival in Vienna.
For several years, she has been pursuing awareness-raising and transmission work in France and Japan, guided by her interest in somatic techniques and areas conducive to improvisation, in multiple contexts : schools, hospitals and festivals, including the International Dance Workshop Festival – Hot Summer in Kyoto and Extension Sauvage in Combourg.
Its pratices are currently deployed between Nantes and Berlin.
Born in Caen in 1971, Raphaëlle Latini has practiced regular dance since her early childhood (classical and contemporary). Multidisciplinary artist, graphic designer, videographer, scenographer, graduate of the Beaux-Arts in Caen: the body and the decomposition of movement are often found at the center of her research.
In 2003 she rebuilt her daily life around another passion: sound, intimate, regenerating and therefore vital, and created the character of Madame Twill, set up her graphic and sound identity and mixed in Parisian bars-clubs (OPA, Pulp, Barourcq, Cabaret sauvage…). His different approach to turntables takes her as much in bars, national choreographic centers as in contemporary dance workshops. It is only natural that she refocuses her work towards performing arts, whether in music with Vincent Dupont in Incantus, Plan, Souffles et Refuge, in scenography for Borges vs Goya with the company Akté, or by founding the group Entorse in 2007 that she inaugurates with Love Affair, green girl (radio theater), and Morceau, performance with chocolate vinyls. Originally conceived as a collective, she will collaborate within Entorse with different artists (choreographers, actors, lighting designers, musicians, scenographers, researchers …) to create shows, performances, installations that combine choreography, music, scenography and light with a requirement that pushes them to explore all possible interactions. The specificity of the company’s project is not so much the formalistic search for a choreographic signature effect, but rather the desire for a permanent resonance of this transdisciplinary approach. As part of this process, she will begin a wonderful collaboration with Samuel Lefeuvre in Accidens (ce qui arrive), [àut], Haute résilience and Hantologie.
Since 2015 she has assumed sole artistic direction and created CORPS DISCIPLINAIRE then Bold !. At the same time, she created the soundtracks for Neige for Michèle Anne De Mey / Charleroi danses, collaborated with Mohamed El Khatib and since 2011 with Peeping Tom in A louer, Vader, Moeder and Kind, in The Land for the Residenz theater as well as The Missing Door, The Lost Room, The Hidden Floor in collaboration with the Nederlands Dans Theater.
Light creator, light manager
Arnaud Lavisse is a lighting designer and light manager.
Close collaborator of Caty Olive, Patrick Riou and Yves Godin, his career has brought him to cross the works, in particular, of Gisèle Vienne, Christian Rizzo, Boris Charmatz, Raimund Hoghe.
He has been supporting Vincent Dupont’s projects since 2007 and signs the light creation of Stéréoscopia.
Artistic collaborater and coordinator
Myriam Lebreton belongs to a generation of students from the Mudra school (Brussels). She shares her classes with Hervé Robbe, Carlotta Sagna, Emmanuelle Huynh…
Her physical and vocal presence inspires the choreographic universes of Hervé Robbe, Régine Chopinot.
She then met Dominique Bagouet, Olivia Grandville and Xavier Marchand, Sylvain Prunenec, Luc Bondy.
In 1997, she began working with Boris Charmatz and participated in the creations of Herses (une lente introduction), Con forts fleuve, héâtre-élevision.
With Vincent Dupont, she participates as a performer in the creations of Jachères improvisations and Dikrõmatik, and collaborates artistically on all the projects since Hauts Cris (miniature).
Dancer and costume designer
Eric Martin started dancing at the age of nineteen after more than ten years of figure skating. He first encountered modern jazz with Redha and Bruno Agati, then Philippe Decouflé hired him for Triton in 1990.
This was followed by an eleven-year collaboration during which he took part in various works: Petites Pièces Montées (1993), Decodex (1995), Shazam (1998) and the opening night of the 1992 Winter Olympics.
In March 2000, he took part in the recreation of Meublé sommairement by Dominique Bagouet with the Carnets Bagouet.
With Vincent Dupont, he is one of the performers of Jachères improvisations, and participates in the creation of [dikrômatik].
Then he worked with Christian Rizzo : Soit le puits était profond, soit ils tombaient très lentement car ils eurent le temps de regarder tout autour (2005) and Mathilde Monnier : 2008 Vallée (2007), Tempo 76 (2008).
From 2009, Eric Martin designs and produces costumes for the performing arts : he designs the costumes for Souffles for Vincent Dupont and assists the costume designer Philippe Guillotel for the show Iris (2011) directed by Philippe Decouflé for the Cirque du Soleil .
Konstantinos Rizos was born in Athens.
He obtained his bachelor’s degree in physical education and sports and continued his studies at the professional dance school of Niki Kontaxaki. He then taught the Contact / Improvisation dance technique and obtained the black belt in judo.
He is then interpreter for Patricia Apergi, Lia Haraki, Artemis Lampiri, Giannis Kakleas, Tuur Marinus.
In 2013, he produced the videodance Sans Attente, for which he won the Best Interpretation Award at the 5th DanSHadow International Festival of Video, Performance and Technologies, Lisbon (Portugal).
He joined the Master Exerce in 2015, where he began a collaboration with the Italian choreographer Paola Stella Minni (choreographic, musical and editorial projects).
In 2017, he participated (with several artists from the Exerce master’s degree) in the reconstruction of Simone Forti’s Dance Constructions as part of the exhibition A different way to move at the Carré d’Art de Nîmes.
After studying classical dance at the conservatory in parallel with an audiovisual film and plastic arts course in high school, Flora Schipper trained in contemporary dance with Dominique Noël, then in Bordeaux under the watchful eye of Alain Gonotey through the Lulaby Danza Project training. There she will meet the choreographer Marielle Morales who will strongly influence her work. In 2011, she joined Aragorn Boulanger’s Genom company as a performer for the creation of Swan Lack and participated in a slowness research laboratory.
Sensitive to the dialogue between the arts, she collaborates at the same time with different artists, such as the plastic artist Manuel Herreno, with whom she signs her first performance, Ombre et lumière, and the visual artist Elliot Storey, with whom she works on several projects video, including a feature film currently being written.
She meets Jean-Paul Goude, for whom she performs in the exhibition So Far, so Goude.
Since 2016, she has worked as an actress and dancer with director Jean-Henri Meunier in two feature films, La tête cachetonnée and Nos intentions Fébriles (2020). Today she works as a dancer choreographer in Project-Z, created by the Flemish music group Krankland, which pays homage to (im) popular art, and is also pursuing studies as a painter.
She is joining the company J’y pense souvent (…) in 2020.
After studying architecture and training at the School of Fine Arts in Quimper, Charlène Sorin joined the ESSAIS training course at the Angers National Center for Contemporary Dance. She developed her research there, and met various artists and choreographers, including Vincent Dupont.
At the same time, she draws and participates in group exhibitions organized by the MPVite association in Nantes : Apostasie à Rezé, and Dasein Machend in Pellerin, as part of Estuaire 2009.
In 2010 she built Biche oh ma Biche, a performative installation as part of the museum night at the Musée des Beaux Arts in Angers, and in 2011 Ce qui touche en bas, se casse, a performative installation for the Empreintes gallery in Aydat.
She works as a performer in Bine by Vincent Dupont, and in Malentendu by Fabienne Compet, a piece based on Trio A by Yvonne Rainer.
Born in Estonia, Nele Suisalu after a year of graduate studies in semiotics, graduated in choreographic research in 2005 from the University of Tallinn.
Shortly after, she resumed her studies in languages and acquired a master’s degree in interpreting at the University of Tartu.
At the same time, she created her first dance performance and began critical writing work on dance performances for the Estonian cultural weekly Sirp and the magazine Teater.Muusika.kino.
In 2007, she joined the ex.e.r.ce training at CCN Montpellier initiated by Mathilde Monnier. From then on, while keeping a link with her native country, she moved to France and worked as an interpreter with choreographers with very varied projects : Laure Bonicel, Frédérike Unger and Jérôme Ferron, Hélène Iratchet, Anne Lopez, and recently Héla Fattoumi and Eric Lamoureux.
She also creates her own shows in collaboration with Florent Hamon within their company Nomad’act.