Léa Turner first graduated from the Paris bar and specialized in criminal and prison law. In 2018, she moved to the world of performing arts as a diffusion officer for the company Massala – Fouad Boussouf, then as a coordination officer at the Ménagerie de verre. In 2019, she undertook a training course in “live performance administration” at the CFPTS and began a work-study program in the company VlovajobPru of François Chaignaud & Cecilia Bengolea as an administrative/production assistant. In the fall of 2020, she finally joined the company La Fronde as a production and distribution manager. At the same time, alongside her mother, a designer, Léa launched the family ready-to-wear brand, Hudelaine, which offers unique creations made from reused jackets and canvas in an upcycling spirit.
Barbara Coffy-Yarsel has worked with artistic creation and research venues (Laboratoires d’Aubervilliers, Usine C – Montreal, Halles de Schaerbeek – Brussels) and has been accompanying choreographic artists for the past ten years. In parallel, she develops different activities linked to the fields of research, writing and publishing: between 2010 and 2013, she conducts a documentary survey in Lebanon with artists on the notions of visible and invisible architecture in Beirut; from 2013 to 2016, she conducts a research between Paris (EHESS – Arts and Languages Laboratory) and Istanbul which characterizes a poetics of disorientation based on the works of Bilge Karasu and Robert Walser. Since 2015, she has been part of the collective Rester.Étranger, a mutant and familial form that digs into hospitality in the experience of writing and performance. In 2020, she founded the structure Maison Trouble, a tool for artistic accompaniment and a place for editorial production imagined at the crossroads of stage, writing and performance.
Annie Leuridan lives and works in the north of France. She is a lighting designer, a landscape designer, a talker, an activist, a co-author of documentaries, a director’s assistant, and she loves transmitting know-how, leading user groups, going on holiday and a whole host of other more or less obvious things. She creates the light for shows, plastic devices and exhibitions. Her path follows the paths of opera, theatre and dance, especially when they visit different scenic forms – from the bi-frontal relationship to small travelling forms. This is her preference. For the past 15 years, she has been working mainly on dance lighting with regard to the role of light in the treatment of spaces, volumes, colours and rhythms. Her encounter with visual artists has led her to treat light as the very material of the work. The transmission of know-how has become a necessity after 30 years on the stage.
In 1997, after studying modern literature at the University of Reims, Nicolas Martz trained in recording techniques at the Ecole des Métiers de la Communication (E.M.C). Called up for military service in 1999, he chose to become a conscientious objector at Ensemble 2e2m. He then made the recordings for the concerts and became familiar with computer-assisted musical composition.
At that time, he founded an electronic music group, Missmood, and started to perform live using pre-recorded material modified in real time.
By chance, he quickly turned to sound creation in relation to dance. For the past 20 years, he has collaborated on numerous pieces, works, performances and productions with several contemporary dance companies, theatres and other visual artists/performers.
With the concern to approach his work in a global way, he tries to take into account situations, environments and materials for sound diffusion. His work in accompanying and setting up the space is as important to him as the creation of sound materials.
He finds inspiration in the sounds of reality and the treatment, arrangement and composition of chance have always aroused his interest.
I became interested in light through the practice of dance, as an amateur, in choreographic research groups at the universities of Poitiers and Brest where I learned the management of the body, space and image.This artistic practice pushes me towards studies in audiovisual, the master image and sound of the university of Brest. In parallel to this training, I was introduced to lighting for the stage through dance festivals, Antipodes at the Quartz in Brest, Latitudes Contemporaines in Lille, the festival À Corps in Poitiers, or Tanz Im August in Berlin. I work mainly on choreographic pieces since 2012 and I continue to train myself by working in collaboration with lighting designers (Sylvie Garot, Erik Houllier, Philippe Gladieux, Abigail Folwer, Yves Godin) which leads me to work with artists such as Steven Cohen, François Chaignaud, Nadia Beugré, Danya Hammoud, Fabrice Lambert, Gaël Sesboüé, Latifa Laâbissi … I also make my own light creations with : François Chaignaud and Nino Laisné (Romances Inciertos), François Chaignaud and Marie- Pierre Brébant (Symphonia Harmoniae Caelestium Revelationum), François Chaignaud and Geoffroy Jourdain (t u m u l u s), Nadia Beugré (L’Homme Rare), Mickaël Phelippeau (Pour Ethan, Avec Anastasia), Arthur Perole (Ballroom, Nos Corps Vivants), Marta Izquierdo (Imago Go), Eve Magot (To the Point), Enora Boëlle (J’ai écris une chanson pour Mac Gyver, Moi Canard), Léa Bonnaud (Pistes)
Bia Kaysel is a Brazilian architect, scenographer and lighting designer. In France since 2014, she has been able to work with different artists and collectives. She is currently a partner of the company La Fronde by Nina Santes and Bo / Kevin Jean, set designer of Grupo Barka in Rio de Janeiro, she coordinates the Fauvettes project in the Paris suburbs and collaborates with different dance and theatre companies. She has designed the lighting for Divine Cypher by Ana Pi and the new creations in progress by Nadia Beugré, Claire Lapeyre Mazerat, Magda Kakouche and others.
Lynda Rahal (born and living in Paris, 1984) is an artist who has been working in choreography, performance and visual arts for several years. She trained at Ex.e.r.ce/MA under the direction of Mathilde Monnier (2011-2013), participates in the Art, dance and performance program at the CCN Belfort and obtains a master 2 in dance art at the University of Paris 8. Within the framework of the Ex.e.r.ce training, she took part in the reconstruction process of Yvonne Rainer’s piece: Continuous Project Altered Daily (1970-2011) with the collaboration of students, Xavier Leroy and Christophe Wavelet. Since 2011, she has collaborated as a performer with numerous choreographers in France and Europe including Andy De Groat, Hervé Diasnas, Rosalind Crisp, Jonathan Schatz, Joao Dos Santos Martins, Antonija Levingston and Nadia Lauro, Ingrid Berger Myhre, Tino Seghal and more recently Mylène Benoit, Nina Santes and Arthur Perole. She also works as a collaborator/dramaturge with different choreographic artists, Katerina Andreou (BSTRD/ A KINF OF FIERCE), Nina SANTES (Hymen Hymne, Republic Zombie, Coven, La nuit, Beauty Glow Tanning studio), Sebastien PROVENCHER and Julia LAPERRIERE (What will come ), Steven Michel (Datadream) and Sorour Darabi (Mowgli / Natural Drama). Her approach and her artistic practices have been strongly nourished by her various collaborations. Since 2008, she has been developing her own work that encompasses a wide range of forms, including choreography, sound installation, film creation and publication. She is interested in questions of language, gesture, the traces we leave and those that are inscribed in our bodies through a documentary and conversational approach. She created Re—re—write /Re—re—think a choreographic installation as part of the Cupli exhibition in Geneva, Landslide / Object 1 a documentary installation/film shown at the Beirut Art Center and at the Mucem in marseille, Objects of contagion co-signed with Katerina Andreou and Jasmin Ihrac with the support of Life Long Burning and CCN Montpellier, Reciter les Langues co-signed with Célia Gondol (Palais de Tokyo, Paris) and Ask the oracle, a performative workshop project created at Casa do povo / Institut Français, Sao Paulo in 2017 and remounted in 2019 in Tehran, Iran. In 2021, following a commission from the French Institute and the consequences of the Covid crisis, she creates the film / installation La Grosse Fatigue, in collaboration with Nina Santes and Viktor Szeri. She received the Danceweb 2016 grant as part of the Impulstanz festival in Vienna and Roberto Cimetta Funds 2015/ 2018 for research trips to Iran and Lebanon and participated in the program of meeting young artists and critics as part of the Transamerique Festival in 2015 in Montreal.
Born in 1985 in Grenoble (France), lives and works in Paris. Célia Gondol, choreographer, dancer and visual artist, places her work in the fields of choreography, music, astrophysics and fundamental physics. In parallel, she regularly practices singing and apnea. Célia Gondol’s work draws from her dance practice a kind of choreographic orchestration borrowing from the principle of formation the convergence of individuals. Preferring lived situations to finished objects, the artist surrounds herself with collaborators whose specialties – artisanal, technical, scientific or poetic – she invests as vehicles for common performances. In Thailand, she displaces a young woman’s offering, inviting her to gild plants rather than idols (Agreement in compassion, 2015). In Brazil, she inspires a chansonnier from the tradition of repente, the “spontaneous verse,” to improvise an allegorical poem picking up on themes of contemporary astrophysics (O Lunático, 2018). Célia Gondol thus likes to see the singularity of performers revealed in heady refrains, as well as in more meditative, ritual or votive tasks. Meticulous actions, repetitive sequences, absorbed attention: the gestures that the artist delegates cradle humble human routines, in which nevertheless pulses the march of the stars. After a professional training in contemporary dance, Célia Gondol joined the École Nationale Supérieure des Beaux-Arts de Paris in the studio of Ann Veronica Janssens. In 2014, she obtained her diploma (DNSAP) with unanimous congratulations from the jury. In 2017, Célia Gondol participated in the exhibition Les Mains sans sommeil, first presented at the Palais de Tokyo in Paris, before going to Japan; as well as the 62nd Salon de Montrouge. She presented Slow at the Do Disturb performance festivals at the Palais de Tokyo, and then Verbo at the Vermelho Gallery in São Paulo, Brazil. In 2018, Célia Gondol participated in various group exhibitions, such as SCULPTER (faire à l’atelier), organized in Rennes in three venues (Frac Bretagne, La Criée, Musée des Beaux-Arts); Les Mains sans sommeil, with the Fondation d’entreprise Hermès, at Forum / Ginza Maison Hermès, Tokyo (Japan). That same year, she also directed, the performance Slow, closing the exhibition The Shyness of the Peaks at Sogn & Fjordane Kunsmuseet, Førde (Norway). In 2018, she presented a solo exhibition at the Parisian gallery Monteverita, Physical Meanings. In 2019, she participates in the group exhibition I Remember Earth at Magasin des Horizons in Grenoble. In addition, she co-created with Nina Santes in 2019 the show A LEAF for “Le festival d’Avignon-73e édition”, and signed the scenographies of the shows Self Made Man (2015) and Hymen Hymne (2017) by Nina Santes, Totemic Studies (2018) by Matthieu Barbin, NEBULA (2021) by Vania Vaneau and accompanies the scenography of the show Rencontre avec Pierre Pica by Emilie Rousset (2018). As a dancer, since 2006, Célia Gondol collaborates with Mylène Benoit (2014-2021), Clédat and Petitpierre for the performance Les mariés même (2016), Liz Santoro at the Mac Val for Mass over volume (2017), Annabelle Bonnery or Yuval Pick. In 2020 she joins the choreographer Alban Richard (CCN de Caen) for the performance Altered Dance, then the creation 3 Works for 12 (2021).
Choreographer, performer and visual artist, Pauline Brun plays with contexts and different mediums exploring the body with self-mockery and at the edge of the absurd. Trained at the Nice Conservatory, the Villa Arson, the École Nationale Supérieure des Beaux-Arts de Paris and ex.e.r.ce at the Centre Chorégraphique National de Montpellier, she deploys proposals between visual art and choreography. She presents her work of performances, installations and videos notably at the Centre George Pompidou, MAC VAL, Salon de Montrouge, MAMAC, La Station artist-run-space, CND. In 2018, she creates Scruffy shot, a duet with Jonas Chéreau, where she puts the white cube in the black box. In 2022, she created the solo Raide d’équerre at 3bisf for the Festival Parallèle where she uses low-fi effects to distort space and the body. As a performer or scenographer, she collaborates with Fanny De Chaillé and Philippe Ramette, Alain Buffard (reconstruction of Mauvais Genre), Pol Pi, Jule Flierl, Eve Magot, Nina Santes, Adaline Anobile, Jonas Chéreau, Antoine Cegarra, Gaëtan Rusquet…Currently, she is working on the creations Jardins, a group piece for public spaces, and Tie-Tool in collaboration with Marcos Simoes, which relies on misunderstanding as a choreographic and visual tool.
Caroline K. Lavender
A protean performance artist, she trained her gaze in fine arts, her posture in striptease and combat sports. Through dance and visual arts, she crosses the codes of eroticism to compose a language of the sensitive, the vulnerable and the powerful.
Born in N’Djaména, Nanyadji was very early taken with a passion for the arts, notably theater, dance and photography, which led her to train at the Poitiers theater conservatory and then at ESTBA (École supérieure de théâtre de Bordeaux en Aquitaine) directed by Dominique Pitoiset and Gerard Laurent. She finished her studies by playing in the play “Machine Feydeau” under the direction of the directors Yann-Joel Collin and Éric Louis. She also trained in dance during masterclasses in France and Burkina-Faso and by dancing in the traditional African dance and percussion troupe “Djembé Sacré” directed by Valérie Chauvet and Omar Diop, as well as in the university choreographic research group of Poitiers, directed by Isabelle Lamothe; she worked with the choreographers Christian Bourigault, Jackie Taffanel, and Dimitri Tsiapkinis. Attracted by poetry, engaged speeches and the beauty that can offer a dialogue between text, body and voice. Nanyadji works in both theatrical and choreographic productions involving the voice… She works as an actress with the director Thierry Bedard in “Un monde idéal” by Thierry Bedard, the director Aristide Tarnagda in “Romeo and Juliet” by Shakespeare, “Plaidoirie pour vendre le congo” by Sinzo Anza, “Pistes” by Penda Diouf, with the Apache group in the literary banquet “Sodom and Gomorrah” by Proust, the director Thomas Visonneau in “Horace” by Pierre Corneille, the director Silvano Voltolina in “ID+/” by Roberto Fratini Serafide, and currently with the director Emilie Rousset in “Reconstitution: le procès de Bobigny”, the director Erwann Mozet in “Aurores” by Erwann Mozet and in “la défense devant les survivants” adaptation of the short story by Adolfo Bioy Casarès by and directed by Clara Chabalier. She works as a dancer/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 “, and currently with the choreographer Marion Alzieu in ” Si c’est une fille “. Nanyadji is an assistant director for the play “Claustria” by actress and author Julie Teuf, presented at the Théâtre National de Bordeaux en Aquitaine (TNBA) during the 2013 Novart Festival and will later perform in the play “Cinderella” written by Julie Teuf. Sensitive to the transmission and opportunities for exchange and encounters that this allows, Nanyadji has also conducted dance and theater workshops at the EPCC of Guyana, in partnership with the IDDAC and the TNBA, at the CCNO, the TAP … Outside of the stage, she created with the artist Yaya Sarria the exhibition and installation “Discovering one’s identity and making the other discover it” carried by the Association Untendanses (France) and the Sabot du vent company (Chad), exhibition presented in Chad, Cameroon and France in 2017, 2018 and 2019. This project is his first photographic work presented publicly.
Soa de Muse
Burlesque ! Cabaret ! Singing ! Dancing! Soa de Muse is a hybrid and multifaceted creature aged ? Nobody really knows… All we know is that she destroys the patriarchy and does it with joy! With a theatrical flutter of her eyelashes, a nod of her head, a disdainful pout, a snap of her fingers, eyes in the sky, soa is also this wonderful nymph, a bit bitchy, who never looks at you except to tease you nicely and always with benevolence.
Dancer, singer and actor, Olivier Normand trained for the stage after studying modern literature at the ENS Lyon. He participated in the ex.e.r.ce program (directed by Mathilde Monnier and Xavier Le Roy) at the Centre chorégraphique national de Montpellier, and in the Transforme program at the Abbey of Royaumont (directed by Myriam Gourfink). He also trained in theatrical acting and opera singing at the regional conservatories of Montpellier. Since 2007, he has performed for Mathilde Monnier, Alain Buffard, Fanny de Chaillé, Béatrice Massin, Joris Lacoste, Bruno Geslin, Émilie Rousset, Maya Boquet, Nina Santes, Eszter Salamon, among others. As an extension of his stage activities, he is developing a reflection on the interpreter within the framework of the current writing project “Sous le regard”. He has also written pieces at the crossroads of his different practices: ICI, then L’Artificier and Récital. In 2022, he created ” Vaslav ” a show – singing tour, named after his cabaret alter-ego.
Originally from Recife, Brazil, and living in France since 2013, Calixto Neto trained in theater at the Federal University of Pernambuco, then in dance at the Groupe Experimental de Danse before taking the master’s degree in choreography ex.e.r.ce, at the CCN of Montpellier. During his studies, he created the solo petites explosions as well as the duet Pipoca, with Bruno Freire. oh!rage, his second solo, gives visibility to minority bodies and identities and is interested in “peripheral” dances, on the fringe of institutional circuits. Member of Lia Rodrigues’ company from 2007 to 2013, Calixto Neto is also a performer in the creations of Anne Collod, Mette Ingvartsen, Eve Magot or Luiz de Abreu whose famous piece O Samba do Crioulo Doido he will perform again in 2020, as part of the Panorama festival at the CN D in Pantin. Again in 2020, he directed the films O Samba do Crioulo Doido: Rule and Compass and Pro Futuro Quilombo. In 2021 he creates Outrar in collaboration with Lia Rodrigues and Feijoada, his first group piece.
Performer, choreographer and singer of funk Sapatão, Luara Learth Moreira trained at the University of Brasilia and Forum Dança in Lisbon and at the Master EXERCE, ICI-CCN Montpellier. Her work is inscribed in a lesbian, racialized, anti-colonial perspective of the body that intends to activate threats and fractures in the hegemonic representations of gender, race and the body.
Born in 1989 in Charente-Maritime to a Cameroonian father and a French mother, Betty Tchomanga began her artistic training in 2004 at the Bordeaux Conservatory and with Alain Gonotey of the Lullaby Company. She then trained at the Centre National de Danse Contemporaine d’Angers (CNDC) in 2007 under the direction of Emmanuelle Huynh. Her career as a performer began in 2009, collaborating with artists such as Emmanuelle Huynh, Alain Buffard, Raphaëlle Delaunay, Fanny de Chaillé, Gaël Sesboüé, Éléonore Didier, Anne Collod, Herman Diephuis and Nina Santes. In 2014, his meeting with Marlene Monteiro Freitas marked a turning point in his artistic career. The richness of this collaboration allows her to deploy performative powers where detail and musicality hold an important place. In parallel to her artistic career, Betty pursues literary studies at the University of Paris 3 Sorbonne Nouvelle and obtains a master 2 in modern literature in 2014. In 2016, she joined the Association Lola Gatt Productions Chorégraphiques based in Brest as an associate choreographer with Gaël Sesboüé and Marie-Laure Caradec. The same year, she choreographed and directed Madame, a piece for three performers. In 2020 she created her first solo Mascarades which has been touring ever since. She is currently working on a new show entitled Leçons de Ténèbres which will be created in September 2022. Betty Tchomanga is an associate artist at the Quartz, scène nationale de Brest (2021-2024).
Lise Vermot began her dance studies at EPSEDANSE in Montpellier in 1999 where she obtained her where she obtained her diploma as a contemporary dance teacher in 2003. Then she goes to Toulouse to do the EXTENSION interpreter training at the Centre de development choreography in 2006. Thereafter she is an interpreter for different Cies of which the most outstanding for her : A.Buffard, Vlamproductions, D.Wampach, N.Santes, M.Benoit, B.Tchomanga. These experiences allowed her to deepen the work of the sung and spoken voice as well as the work of the body in its multiple emotional and energetic states and in all its power. She creates performances in situ, mounts two video/photo/installation exhibitions, create a music group no style Les Craves, becomes ayurvedic masseuse, yoga teacher, intervenes for women’s groups around the body, the voice, care and empowerment. And on occasion, she transforms herself into a DJ Gravier!
Jean-Baptiste is a performer and author of live performance projects. After a long practice of singing and a first experience of movement in the direction of choir, he begins the dance in parallel to his studies of sciences of the language. In 2003 he was part of the vocal ensemble directed by Pierre Calmelet which won the silver medal at the national competition of Florilège Vocal de Tours (FR). In 2005 he was part of the first promotion of the ‘Essais’ program at the CNDC / Emmanuelle Huynh in Angers where he was invited to define his own research axes as an author. There he realized notably chambre son, a choreographic and vocal piece for a capella choir. In this context, he is also an interpreter in several projects, among which My Country Music by Deborah Hay, of which he made a solo adaptation: acclimatization. During his training, he also intervenes as a singer in the training of choreographic artist.
Since his graduation from the CNDC in 2006, he has founded the association la dépose and is developing his own work. He has created a performance on breath with vacuum blowers, inspiratory/aspiratory, and has continued his research on choirs in movement: with breathing choir, always considering the breath in its musical aspect (Porto, PT, 2008); with Singing with Nicaoax, working with a children’s choir in Oaxaca as part of the international event “Prisma Forum” (Oax, MEX, 2009); and with I’ve got you under my skin, a project realized with an adult amateur choir as part of Guimarães 2012 European Capital of Culture (Guimarães, PT, 2012). His interest in voice and language is also the source of animal, and sometimes pushes him to move towards non-performative formats, as for Deports
He has also taken part in numerous collective projects, including Tout Court by invitation of Tommy Noonan at the Stadttheater in Freiburg (DE, 2008), and Five People by invitation of Dirk Pauwels at Campo in Ghent (BE, 2009).
As a performer he has worked with artists such as Ivana Müller (HR/FR), Robert Steijn & Frans Poelstra (NL/AT), Martine Pisani (FR), Daniel Larrieu (FR), Begüm Erciyas (TR/DE), Gui Garrido (PT), Dennis Deter (DE)… He has been assistant or accompanist for projects of Daniel Larrieu (FR) and Dery Fazio (MX/FR). He has also collaborated with film directors Alain Escalle and Jonathan Desoindre (FR) and visual artists Lizzie Scott (NY, US) and Frédéric Moser and Philippe Schwinger (CH/BE). Gwen van den Eijnde (FR) regularly invites him to think about the space and movement for the presentation of his textile objects.
Since 2007 he is an active member of the international network of artists sweet & tender collaborations.
In 2010 he was awarded the danceWEB grant to participate in the ImPulsTanz festival in Vienna (AT) and was selected in 2013 to participate in the Rencontres internationales des jeunes créateurs et critiques des arts de la scène as part of the FTA / Festival Transamériques in Montreal (CA).
In 2014 he is certified in perceptive pedagogy MDB (FR).
I am a choreographer, visual artist and performer. In 2022 I founded my company, Langue Vivante, based in my home town, Beauvais. Choreographic pieces for inside and outside, objects and performances, creations with people, the company Langue Vivante aims to become a research laboratory for individuals from all walks of life, artists and non-artists. I wish to promote work that is rooted in territories and that is inscribed in time, to collect words and voices, gestures and dances, to create landscapes, to make visible what is hidden. The company is accompanied by Danse dense, from 2022 to 2024. In 2021-2022, I write Chêne Centenaire in co-signature with Marion Carriau. The piece is declined in three versions: a stage version, created on December 15, 2022 at the Centre Chorégraphique National de Tours; an outdoor version, created on June 11, 2022 at the June Events festival with the Atelier de Paris CDCN and finally PAYSAN.NE.S, a participative version created for the first time on July 3, 2022 at the Parc des Guilands in Montreuil with Danse Dense, within the framework of a long residency in the city which we benefit from throughout the season. The piece is currently on tour. In 2021 took place the second edition of “Entre Soie”, a participatory project with the patients and caregivers of the Association Charonne, CSAPA. The first one took place in 2017. The work that we build with the team of the Charonne association is thought in the long run, and also associates the artist Charlotte El Moussaed, in the realization of films that result from these times of creation and experience. In 2018, I co-wrote Diotime et les lions with Mylène Benoit, which is currently touring in France and internationally. Collaborating with the choreographer from 2013 to 2021, I created numerous participatory pieces with the projectYour Dance, mirroring the piece Our Dance (2014) for which I was an assistant. I co-signed the set designs for Gikochina-sa (2018) and L’Aveuglement Installation (2017). We co-designed the cycle “Les danses augmentées” in 2014-2015 for the Gaité Lyrique in Paris with theMouvements de la pensée. In 2018, I also signed the set design and lighting of Je Suis Tous Les Dieux, the first piece by choreographer Marion Carriau. In 2015 I founded the duo MKNM with Noémie Monier. Objects, installations, performances: our work is woven in a polymodality of forms. We are permanent residents of DOC – an artistic production space located in the 19th arrondissement of Paris from July 2017 to January 2022. I regularly work as an artistic collaborator and performer with different artists (Nina Santes and Eve Magot | La Fronde, Marion Blondeau, Maeva Cunci, Dominique Gilliot, David Wampach,.).