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Resident company — Residency program

© Paolo Porto 

Compagnie Li(luo) (Camille Mutel)

  • Wednesday December 6, 2017 from 6:30-8:30 PM: workshop ON DANSE with Camille Mutel

Animaux de béance 

There is a place where the reality of the intimate body infringes upon the categories of the social body, does not respect communitary norms or age, and questions sexual identity. There is a place where, in the journey of life, the being is larger, more fragile and uncertain than all the existing structures can express. Being inspired – without referring to it directly – by a medieval ritual form from Sardinia, the choreographer Camille Mutel explores this space called a “crisis of presence.” The dance of the Argia, a kind of Sardinian tarantella, consists of a reservoir of symbolic practices organized to traverse collectively and significantly the confounded state of an individual in a village, responding to his questions and doubts about his own shape – in terms of his health, shapes, modality of being. The entire community supports the crisis being experienced by one of its own, reassuring itself by offering asylum for each member and each potential crisis.

Camille Mutel also decided this once to stay on the sidelines, guiding the three artists she has invited to work on the piece, using the practices and tools they deploy: their voices and bodies. They organize the shape and meaning of the journey for the spectator, feeding his or her imagination, and driving the movements toward an animalistic form and a dialogue alternating nudity and costumes. Mutel sees the body in its heterogeneity, its multiplicity and reality, clearly more complex than the simple envelope of a defined identity. In the hollowness of being, she sees the depths of a creativity and a self-invention which involves everyone, actors and spectators in this moment of permissiveness, in the end a healing one. The performance is probably, in the 21st century, a space dedicated to the asking of existential, vital questions, which communities used to address through rituals of festivities and carnivals.

Production: Compagnie Li(luo)
Coproduction: le manège, scène nationale - Reims; Centre Culturel André Malraux, Scène nationale de Vandoeuvre-les-Nancy; Césaré - Centre national de création musicale ; La Filature, Scène nationale - Mulhouse .
With support from the Ballet de l’Opéra national du Rhin - CCN de Mulhouse and POLE-SUD - CDCN – Strasbourg, under the auspices of the Accueil studio program/ CCN - Ballet de Lorraine under the auspices of the Accueil studio program 2017/ the Réseau Grand Luxe (Ballet de l’Opéra national du Rhin - CCN de Mulhouse ; CCN - Ballet de Lorraine ; POLE-SUD - CDCN – Strasbourg; Trois C-L Luxembourg; Grand Studio – Brussels)/ Agence Culturelle Alsace under the auspices of the Arts Vivants structure/ the DRAC Grand Est/ the Grand Est region (in process)/ the city of Nancy/ Adami (in process)/ Spedidam. In partnership with Tricot Couture and Bergère de France.
The company receives support for structuration from the DRAC Grand Est (2016 - 2017).
Camille Mutel is an accompanied artist at the manège, scène nationale - Reims for the 2017/2018 season.


© Loïc Séron

Compagnie La Bazooka (Etienne Cuppens and Sarah Crépin)

  • Wednesday September 27, 2017 from 6:30-8:30 PM: workshop ON DANSE for  parents – children with Sarah Crépin and Etienne Cuppens
  • Thursday September 28, 2017 at 7:00 PM: open rehearsal

From their first creations, conceived beginning in 2002 by Etienne Cuppens and Sarah Crépin, La BaZooKa has focused on the spectactor, exposing him/ her to certain stage or optical structures, such as in MonStreS (where the audience was surrounded by mirrors), offering unexpected perspectives on the body and exploring the ideas of memory and incarnation.

However, beginning with KaMadisonMonStreS Indiens and finally Queen Kong, the works have become more political, introducing a series of reflections about freedom, be it solitary or as part of a small group, of a community or as part of a couple, as in the current creation Stravinsky Motel, continuing and focusing further their work on identity. It is a common theme in all the works by La BaZooKa.


Pillowgraphies is a response to a wish to fly. An attempt to escape gravity, to find a dance in which the body dissolves into a phantasmagorical figure as light as it is smooth. The desire to dive into a nocturnal, joyous universe in which all you have to do to stay vertical is to float, sliding instead of moving, in which walking is an anomaly. Wanting to breathe the air of freedom, being able to lift your arms while hooting loudly, expecting either a scream or a giggle.

Les fantômes (The ghosts) – we don’t know them very well, they’re anonymous. We follow them with our eyes, a little envious of their flying, imagining they can’t do anything tangible: they can’t do anything to us, touch us – but still ...

We see that they are just men wearing a sheet, we can see their legs if we look hard enough. We can wonder if a famous actor, beautiful woman or great dancer is under the sheet. It doesn’t matter. We immediately accept that ghosts are with us for a certain part of eternity: "as long as there are children who rush out to play when the bell rings” 


© Tim Douet

Compagnie Maguy Marin

  • Saturday October 7 at 11:00: an encounter with Maguy Marin
  • Wednesday February 7, 2018 from 6:30-8:30 PM: workshop ON DANSE with Françoise Leick

La course de la vie - Maguy Marin (The ride of her life)

Born in Toulouse, the dancer and choreographer Maguy Marin studied ballet at the Toulouse Conservatory, then entered the Ballet de Strasbourg before going to Brussels to join Mudra, the pluridisciplinary school directed by Maurice Béjart. In 1978, she and Daniel Ambash founded the Ballet-Théâtre de l’Arche which in 1984 became the Compagnie Maguy Marin. The CCN of Créteil and the Val-de-Marne was founded in 1985: she continued her work there and began an intense touring program around the world. In 1987, her encounter with the musician and composer Denis Mariotte launched a long collaboration. She moved in 1998, to inaugurate another CCN, this time in Rillieux-la-Pape. This “us, in time and place” reinforced her ability to produce “these diagonal forces which resist oblivion” (Hannah Arendt). In 2011 she went back to the drawing board – having spent many years at the CCN in Rillieux-la-Pape, she decided to return to Toulouse in 2012. In January 2015, Maguy Marin and the company returned to the Lyon area: an installation at Ramdam in Sainte-Foy-lès-Lyon was the launching point for a new, ambitious project: ramdam, un centre d’art.


© Max Walter Svanberg, Illustration for Medium, no3, a Surrealist Journal, 1954.

Compagnie La Brèche (Aurélie Gandit)

  • Wednesday October 18, 2017 from 6:30-8:30 PM: workshop ON DANSE with Aurélie Gandit

Since 2007, the compagnie La Brèche-Aurélie Gandit has been developing choreographic projects in exhibition spaces and on the stage. Polymorphic creations are the trademark of the company, notably the Visites dansées (Danced visits) in museum spaces. Aurélie Gandit collaborates regularly with other artists (performers, acoustic artists, videographers) as well as those working in the visual arts (critics and art historians, lecturer‑guides, teacher‑researchers). The projects overflow the choreographic field and create hybrid forms which alternate between knowledge and sensation, rendering porous the lines separating dance and text.

Perchée dans les arbres (Perched in the trees) 
For a spiritual feminist practice
Creation 2018

Or materialistic feminism and the social practices associated with it. Or the mystical impulse and the esoteric or spiritual practices associated with it. Is a reconciliation between these two worlds possible?

Perchée dans les arbres is an investigation of a potential spiritual feminist practice. Can we do this, linking the spiritual practices of the great mystics and sacred femininity to a materialistic, politically engaged feminism? Is it possible today that the study and practice of the multiple forms of spiritual impulse can become a tool for the liberation and emancipation of women (and then men)? All of this without any religious dogma, underlaid by a certain salutary non‑belief? Can we try to link the spiritual and the material in a surge of freedom?

This investigation began in 2016 and will continue into 2018 in the form of concentrated studies of esoteric and spiritual practices led by women who are witches, mystics, historians and healers. The creative team (myself, a female writer and dancer) will be looking for statements describing practical physical and spiritual practices by women working on these questions, in order to participate in initiatory and spiritual rituals based on the sacred female figure and the great mystics. The investigation will consist of practical and theoretical moments which lead to states of mind and body to bring out subtle instances of interior experiences in which moderation and excess blend, in which intense presence and modified consciousness lead to a different space‑time: a shaman, a Benedictine nun, a philosopher, a yogini, an osteopath, a tantric teacher ... the moments spent with these women become the fertile ground for the texts commissioned from Magali Mougel and the choreographic score I am creating with and for Morgan De Quelen.

At stake in this project will be the transformation of this intangible material composed of troubling experiences in words and in bodies, sharing a possible tool of emancipation for all women ... and all men. Creating a danced and spoken form to be free of our human condition, sometimes dreary and desperate, but also joyous. Sure ....

Production Cie La Brèche - Aurélie Gandit. Coproductions and partners: Arsenal - Metz en Scènes, CCN- Ballet de Lorraine (the Accueil studio program), the synagogue de Delme-centre d’art contemporain, Frac Lorraine, Le vent des forêts - centre d’art contemporain in the rural setting, I.C.I. - CCN de Montpellier Languedoc-Roussillon, the Centre de développement chorégraphique national d’Uzès et Scènes croisées de Lozère. With financial support from the Regional Council Grand Est for structuration 2015-2017, the city of Nancy, the Drac Grand Est for project support, the SACD – Beaumarchais (in process)


© Véronique Baudoux

Compagnie Contour progressif (Mylène Benoit)

La Maladresse
Création 2018

La Maladresse is a danced and sung piece for two dancer/ singers, associated with a concert with Pénélope Michel and Nico Devos (Cercueil/ Puce Moment).

This project focuses on the expression by an individual of involuntary movements such as tics and other dyskinesias, intending to create a poetics of movement that the body produces in spite of itself.

This new vocal and kinaesthetic “language” will also feed off our stay at the Villa Kujoyama in Kyoto from Sepember to December 2017. We will create a French Maladresse. a solo for Célia Gondol and a Japanese Maladresse, a solo for Kan-Ichi Segawa. 


© Mehdi Meghari

Compagnie Dyptik (Souhail Marchiche et Mehdi Meghari)

  • Wednesday January 31, 2018 from 6:30-8:30 PM: workshop ON DANSE with Souhail Marchiche and Mehdi Meghari
  • Thursday February 1, 2018 at 7:00 PM at the Centre Les Ecraignes de Villers-lès-Nancy: open rehearsal

Le Cri (The Cry)

“Reason has been hobbled, words are in vain … The body cries out. It screams out the hushed words. The unspoken ones. It cries out its pain, anger, hope and resistance. Liberated, some words are written in chalk. The silence is heard.”
The malaise is present, the tension palpable. Words have been hushed. Locked inside an agonized body. Reason is gone. Nothing is controlled. Mouths are still, mute, no sound emerges. The emotion is too strong, too violent. It is the bodies which are speaking, instinctively, corporeally. They cry out. They cry. They hesitate. They laugh.
The revolt becomes personal, becoming a force of attraction. The movements intensify, the battle as well. It becomes material, intellectual. The bodies find a direction. The movement becomes stronger, finds a rhythm. Until the final confrontation and letting go.
The words are written in chalk, tracing a common destiny, liberating the bodies with their final breath. The cry reaches us, still audible.

Artistic note:
“From laughter to tears, well-being to agony, pleasure to suffering: the world blasts us these images of its society with neither filter nor explanation. Everything is accessible and is shared freely. Without restraint. Feelings collide and jostle each other. Faster and faster, stronger and stronger. Le Cri is what the body experiences in this absurd context where emotion becomes an object to be consumed. Where stories are written with incoherence and a disconcerting irony. Where contradictions escalate and malign each other. The feeling is thus central to the creative process and the movement research. Placed in extreme physical situations during choreographic laboratories early in the process, the dancers tested their abilities to resist pain, constraint, fatigue, exaltation … responding with a spare, clean movement which expresses their emotion in the moment that I need it. The soundtrack, initially conceived as something quite neutral so as not to influence the movement, continues to evolve, following the emotional intent of the trio, and permeated by a constant tension.” Souhail Marchiche, choreographer


Compagnie PARC (Pierre Pontvianne)

  • Wednesday March 28, 2018 from 6:30-8:30 PM: workshop ON DANSE with Pierre Pontvianne


H   O   R   I   Z   O   N   T   A   L   I   T   É 
- ( H O R I Z O N T A L I T Y )
MASS is at once the people and the space between them.
A group dance in which a loss of individuality is affirmed.
Something complete without contours.
a horizon.

V   E   R   T   I   C   A   L   I   T   É
 - ( V E R T I C A L I T Y ) 

From this empirical deployment, in global/ total/ general movement, emerges what we might call verticality.
In this immensity emerges a MOVEMENT/ the WORD.


Compagnie Ormone (Aurore Gruel)

  • Thursday May 17, 2018 at 7:00 PM: open rehearsal
  • Wednesday June 6, 2018 from 6:30-8:30 PM: workshop ON DANSE with Aurore Gruel

The word sens (sense, meaning) in French is polysemic in nature, meaning: experiencing the world through sensation, comprehending things, judging them, signification, a rationale for existence, direction and orientation.

Part of my work as a dancer was spent exploring roots, returning to the core, close to the bone where the marrow is. And it is perhaps there that we find meaning, returning to what is essential. We carry something infinitely sensitive within us, an existential quest which brings us to fundamental questions, creating shapes which will bring us to astonishment, awe and a confrontation with the world.
I like comparing our activity to that of the artisan, touching, feeling, working with material, generating shapes, sensitive spaces in which vibrations meet and rub against each other.
These things take place, working with the spontaneity of impulse, of dialogue which is sometimes difficult, contradictions which we need to deal with. - Aurore Gruel 

Manipulation – an interdisciplinary work

MANIPULATION is an organism.
It studies living beings, their behavior and ability to adapt. They are deprived of sight, moving in a black & white space in which both oxygen and the “control tower” are the acoustic environment, in which these entities deprived of sight and/or of a face must accept the injunctions of a system which literally commands each action and movement. In this world of constraints, they react to stimulants, manipulated and manipulating, both subjects and objects of experimentation, parts of an ensemble to which they are viscerally attached. They hear, touch, orient themselves, follow to the letter a program in which they execute regulated and circumscribed movement in an alienating paradigm (from an anthropomorphical point of view). Their movement in this space is seemingly without end.

Conception: Aurore Gruel. Choreographic artists: Lucile Guin, Alexandre Lipaux, Aurore Gruel. Music, acoustic environment and live performance: Hervé Birolini. Lighting & set: Olivier Irthum, David Gallaire. Video material (reflected), costumes, outside eye: TBA. Production administrator: Aurélia Coléno-Mourot 


© Kamal Aljafari

Compagnie Institut des croisements (Arkadi Zaides)

  • Thursday June 28, 2018 at 7:00 PM: open rehearsal/ lecture

Violences des Inscriptions 

Violence des Inscriptions examines human bodies which are dealing with political and social violence. Based on the performativity and physicality introduced by the body into the discussion, the project examines the possibility of representing and reflecting (critically speaking) experiences of structural  violence through artistic, discursive and militant actions.

By and with: Arkadi Zaides and Sandra Noeth.
Production: Simge Gücük/ Institut des Croisements

Coproduction: Hebbel Am Ufer, Berlin (DE).
The project is supported under the auspices of the Alliance of International Production Houses by the German government funding culture and media.
The Institut des Croisements is supported by the French Ministryof Culture and Communication/ the DRAC Auvergne-Rhône-Alpes as part of its support for sructuration.