After studying at the E.R.A.C., Clémentine Baert played under the direction of Pascal Rambert, Georges Lavaudant, Bernard Sobel, Christophe Fiat, Oriza Hirata, Thomas Quillardet & Jonathan Capdevielle, among others. Her regular collaborations on Robert Wilson’s projects from 1998 to 2002 in New York have made her a cosmopolitan and singular artist. In 2017, she will perform in the play A nous deux maintenant, directed by Jonathan Capdevielle and presented notably at the Nanterre Amandiers Theater as part of the Festival d’Automne. She played in Thomas Quillardet’s show Où les cœurs s’éprennent, an adaptation of Eric Rohmer’s films that will be revived in 2021.
She will be part of Silvia Costa’s next creation Wry smile Dry sob in the fall of 2020 as part of the Festival d’Automne at the Centre Pompidou.
In film, she has worked as an actress with Jean-Charles Fitoussi, Emmanuel Mouret, Sigried Alnoy, Olivier Dahan, Philippe Lioret, Wim Wenders, Cédric Anger and Guillaume Canet.
Since 2001, she has been creating theater performances around the question of identity. In 2015, she created Alors, est-ce que c’est là? at the Théâtre de Vanves, a solo that she presented at the T2G Centre Dramatique National de Gennevilliers and at the TDB Centre Dramatique National de Dijon during the 16/17 season, then in Cairo (Egypt) as part of the Downtown festival.
In 2016, she created Un matin, a show for young audiences at the Théâtre de Vanves, which was presented at the T2G Centre Dramatique National de Gennevilliers and is touring in France.
In 2018, at the request of the Odéon Théâtre de l’Europe, she directed Je nous promets with teenagers, as part of the Adolescences et Territoire(s) program, with performances at the Ateliers Berthier Odéon Théâtre de l’Europe, Espace 1789 in Saint-Ouen and the T2G C.D.N. in Gennevilliers. She directed her first short film, Je nous promets, at the request of the BAL with the troupe of young actors she met during the creation of the show. This short film was selected at the Côté Court de Pantin 2019 festival and presented at the Cinéma des Cinéastes.
She is currently working on the writing of her next show, Nos Champs (creation 2020-2021) and her next film Transit.
Plastic artist, mask designer
Étienne Bideau-Rey lives and works in Senlis, France. His artistic education began at the Institut St Luc de Tournai in Belgium, after which he studied scenography at the Royal Academy of Fine Arts in Liège and then entered the École Supérieure Nationale des Arts de la Marionnette in Charleville-Mézières, France. In 1999, he created the company DACM and in collaboration with Gisèle Vienne, directed and choreographed Splendid’s (2000), Showroomdummies (2001), Stereotyping (2003) and Tranen Veinzen (2005). Showroomdummies rewrote a piece in 2009, then in 2013 Showroomdummies #3 for the Ballets de Lorraine. Mates and Monsters in 2017 in collaboration with Anne Mousselet and Graham Smith, at the Theater Freiburg, Germany. In 2020 he re-creates in Kyoto with Gisèle Vienne Showroomdummies#4, produced by the Kyoto Theater.
In addition to the Masterclasses he has been conducting with Anne Mousselet since 2013, he continues to work on his artwork, particularly through drawings and sculptures.
Trained at the Ecole Nationale Supérieure des Arts et Techniques du Théâtre, Vanessa Court creates sound environments for dance, theater and sounds for classical and contemporary music ensembles.
She has collaborated with Susan Buirge, Michèle Noiret, Sidi Larbi Cherkaoui, Vincent Dupont. She works with Christian Rizzo, Alban Richard, Marcela Santander, Anne-Teresa de Keersmaeker and the Belgian ensemble Ictus. In the theater she collaborates with Jonathan Capdevielle and creates the sound creations since A nous deux maintenant
Born in Latvia, he arrived in Reims in December 1998. From a very young age, he developed an immoderate taste for the stage. A gala presenter, trapeze artist or clown, he entered the theater option at the Lycée Marc Chagall in 2014. After a very classical schooling, he opted to go to Paris. With his baccalaureate in hand, he trained as an actor at l’Éponyme, worked for Lucas Olmedo, an Argentine director, and was soon hired to act in the creation of Jonathan Capdevielle À nous deux maintenant.
He then went on to experiment with radio plays under the direction of Christophe Hocké, cabaret with appearances at Ms. Arthur’s, and dubbing, directed by Hervé Rey, on the last season of The Middle. In 2019, Sébastien Betbeder offers him a role alongside Thomas Blanchard, in la Terre entière sera ton ennemi, at the Quartz in Brest; Frédéric Bélier-Garcia, directs him in Retours, alongside Camille Chamoux. Finally, he will embody the first role of a feature-length film to come entitled Bruno Reidal, co-produced by Arte, that of a 17-year-old teenager, murderer of a 13-year-old child, in Cantal at the beginning of the XIXth century, by Vincent Le Port. He is part of the original team of Madeleine Mainier’s Panama Papers Show.
In 2019, he plays Rémi in Jonathan Capdevielle’s last creation.
Marika Dreistadt was born in Tarbes and now lives in Switzerland.
She studied History of Art and Archaeology, as well as her first training as an actor: bac option theater where she met Jonathan Capdevielle, and cours Florent, internship under the direction of Ariane Mnouchkine. She then joined the first graduating class of the Manufacture HETSR in Lausanne and obtained her diploma in 2006. She then joined the Théâtre des Osses company under the direction of Gisèle Sallin and played for 5 years in pieces from the classical repertoire (L’Orestie, Les femmes savantes, Les Bas fonds…).
At the same time she is interested in contemporary writing and co-founded the Collectif Division. Within this collective, she participates in the elaboration of projects for plays written and directed by Julien Mages for which she is also a performer (creations at the Théâtre de Vidy, the Arsenic and the 2.21 in Lausanne).
In cinema, she works with young directors (Thibault de Chateauvieux, Marie Elsa Sgualdo, Shirin Mashayekh…) in films in competition at the festivals of Locarno, Solothurn, Cabourg.
She is currently in creation with the young author and director Coline Ladetto. She is also preparing a tour in Switzerland and Belgium with the show L’embrasement, directed by Anne Bisang.
Artistic advisor, performer
Jonathan Drillet is an actor as well as an author, director, or artistic collaborator. He has worked with Raimund Hoghe, Hubert Colas, Gerard&Kelly, Christophe Honoré, Sanja Mitrovic, or Julien Prévieux. He works regularly with Théo Mercier (Du futur faisons table rase, La fille du collectionneur, Affordable solution for better living, Big Sisters) and accompanies Jonathan Capdevielle on many projects, as a performer and artistic collaborator (Adishatz, La Coupe Bruce, Saga, A nous deux maintenant, Rémi).
In 2008, he founded, with Marlene Saldana, The United Patriotic Squadrons of Blessed Diana, a banner under which, (knowing, like Friedrich Nietzsche, that art is given to us to prevent us from dying of the truth) they write to two of their many shows, including The Gaddafi Prize Dormir sommeil profond, l’aube d’une odyssée / Fuyons sous la spirale de l’escalier profond, Le Sacre du Printemps arabe … These shows were presented at the Festival Belluard (Switzerland), Studio Chez Bushwick and Park Avenue Armory (New York), at the Ménagerie de Verre in Paris, at the Centre Pompidou, at the TAP of Poitiers, at the Scène Nationale d’Orléans, at the Théâtre de Gennevilliers, at the Printemps de Septembre festival in Toulouse, at the A Domicile festival in Guissény, at the Actoral festival in Marseille, or at the Centre National de la Danse (Pantin). Over the period 2020-2022 they should present 4 new creations: 22 castors front contre front, a ballet for 22 young performers created in collaboration with choreographers Gaëlle Bourges and Mickael Phellipeau; Showgirl, a solo project around the film Show Girls, by Paul Verhoeven; Utsu Mono To Utaruru Mono (ceux qui frappent et ceux qui sont frappés) a group piece inspired by the musical Cats and by Kabuki; and Asmr pour le temps présent, a performance for an inflatable church.
Ecume is an association of the University Paul-Valéry in Montpellier born under the impulse of Sylvie Golgevit in 1995. This university association mixes choral art and staging to conceive concerts-spectacles every year. Its energy emanates from its committed and passionate members, from all generations and from very different worlds.
Jonathan Capdevielle has been collaborating with several singers of this choral ensemble since 2009, when the solo Adishatz/Adieu was created, in which they perform on the finale.
Composer, musician, performer
Under various incarnations and pseudonyms, Arthur b. Gillette is a musician, producer, author and composer for film, theater and radio, singer and translator.
He is the guitarist/keyboardist of Moriarty, a group he founded in 1995 and whose songs he co-wrote, producer and bassist of Astéreotypie, a unique rock’n’roll experience, created in a Medical-Educational Institute in Bourg La Reine, lead singer under the pseudonym Mick Strauss. He has composed a lot of music -often in duet with Jennifer Eliz Hutt- for documentary and fiction films, and his soundtracks have been awarded several times -including a Brazilian Oscar nomination for the film Gabriel Et La Montagne released in 2018. He has written and produced several creative radio documentaries and fiction films for France Culture, including Le Tourbillon de Naruto, which won the SACD Beaumarchais Grant and will be released in 2018. He is also a travel companion of Jonathan Capdevielle with whom he collaborates for the music of his plays, A Nous Deux Maintenant, and Rémi. He is a poetry translator from English to French. In this context, he collaborates in particular with the art book publishing house Jean Boîte éditions.
Born in France of parents from the United States, he now lives in Finistère.
Lighting designer, Yves Godin collaborated in the early 1990s on the projects of many choreographers, musicians and visual artists.
His approach focuses on the idea of a light that is not dependent on dance, music or text but that can enter into resonance with the other components of the stage act, working around two main axes: the perception of space and time, and the weaving of networked links, more or less anachronistic with the other elements involved (body, sounds, thought, time).
Today, in the fields of dance, theater performance and music, he collaborates mainly for lighting and/or scenography with Boris Charmatz , Vincent Dupont, Thierry Balasse, Pascal Rambert, Jonathan Capdevielle and Gisèle Vienne. He also collaborates with Olivia Grandville on all these last creations whether they are scenic (Combat de carnaval et Carême, A l’Ouest…) or performative (le Dance Park).
At the same time, Yves Godin creates installations and/or events on and around light.
With Point d’orgue, a device for 1,000 candles, he invites artists from other fields to invest his installation, a principle of encounter that he develops around other devices Opéra Ampérique and Jardin des Leds. He is currently working with the musician Alexandre Meyer to develop a visual and sound installation structure: Cabane.
She is an actress and performer, trained at the Ecole Dimitri in Switzerland. After her training she works in different collectives. She is also a performer notably for Oskar Gomes Mata of the company l’Alakran, Christian Geoffroy-Schlittler, Marielle Pinsard, Sébastien Grosset, for the collective Grand Magasin, as well as for the choreographers Marco Berrettini and Foofwa d’immobilité.
For two consecutive years, she joined the Grü collective in Geneva, including a year devoted to the labo d’enfer, research on Dante’s “L’Enfer”, under the direction of Maya Bösch, Pascal Rambert and Marco Berrettini, among others.
More recently she joined the work of the director Vincent Thomasset as a performer as well as the video artists Alain Della Negra and Kaori Kinoshita.
Parallel to her work as a performer she pursues a collective and performative research within the collective GREMAUD/GURTNER/BOVAY. Since 2009 they have been elaborating a catalog of short and longer forms.
After a bachelor’s degree in theater where she met Jonathan Capdevielle, she pursued her studies in theatre and training in management and communication of cultural enterprises.
From 2004 to 2007, she worked in the administration of the Studio Théâtre de Charenton, in the reception of companies at the Festival des Chantiers de Blaye, then as a production manager with several companies. From 2008 to 2016, she co-directs with Judith Depaule the company Mabel octobre. In 2017, she joined Le Petit Bureau as production manager.
At the same time, she works with Jonathan Capdevielle as an outside eye for two projects: Saga in 2015 and A nous deux maintenant in 2017.
Jennifer Eliz Hutt is an American musician, composer and actress. Trained as a violinist, she has been recording and performing for 15 years with artists such as Will Oldham (Bonnie Prince Billy), Celebration, Tatiana Mladenovitch (Franky Gogo), Marc-Antoine Perrio, Wati Watia Zorey Band with Rosemary Standley (Moriarty) and the Italian band Nidi D’Arac.
She composes for film, television, theater and performances, and works in particular around experimental electronic and electroacoustic music. Some of her compositions have been selected for the New York City Electroacoustic Music Festival and the MAtera INtermedia festival in Italy. She collaborates with Arthur B. Gillette on numerous soundtracks and her solo project (Mick Strauss) and Jonathan Capdevielle for the piece A Nous Deux Maintenant.
After training in fashion design at the Duperré school, in the history of costume making and in various craft sewing techniques, Colombe Lauriot Prévost creates costumes in various fields such as circus, cabaret, musicals, cinema, opera and theater, in France and abroad. She has collaborated with many directors and directors such as Jonathan Capdevielle, Frédéric Bellier-Garcia, Stéphane Ricordel, Pierre Notte, Jean-Michel Ribes, Alexandre Sokurov, Anne-Laure Liégeois, Laurent Fréchuret, Côme de Bellescize, Jérémie Lippmann, Joséphine de Meaux among others.
Passionate about theater, dance and opera, she is committed to bringing through her work a semantic and aesthetic sensitivity and to help the performer to embody his or her role.
Nadia Lauro, scenographer and visual artist, develops her work in various contexts (scenic spaces, landscape architecture, museums). She designs scenographic devices, environments, visual installations. Her spaces with strong dramaturgical power generate new ways of seeing and being together.
She collaborates with choreographers and performers Vera Mantero, Benoît Lachambre, Frans Poesltra, Martin Belanger, Ami Garmon, Barbara Kraus, Emmanuelle Huynh, Fanny de Chaillé, Alain Buffard, Antonija Livingstone, Latifa Laabissi , Jonathan Capdevielle , Laetitia Dosch, Antonia Baehr, Yasmine Hugonnet and Jennifer Lacey, with whom she co-signs numerous projects. Their collaboration is the subject of a publication ” Jennifer Lacey & Nadia Lauro, dispositifs chorégraphiques ” by Alexandra Baudelot published by Presses du Réel.
She receives The Bessies, New York Dance and Performance Awards for the visual design of $Shot (Lacey / Lauro / Parkins / Cornell). She designs a series of installations/performances “Tu montes“, “As Atletas“, and “I hear voices“, scripted environments developed in various locations (museums, theater foyers, galleries, gardens) in Europe, Japan and Korea.
She creates the concert-performance “Stitchomythia” in collaboration with the electroacoustic composer Zeena Parkins.
She conceives several scenographic and curatorial devices: “La Clairière” (Fanny de Chaillé/Nadia Lauro), an immersive visual environment to hear at the Centre Pompidou, 4th edition of the New festival /” Khhhhhh ” Imaginary and invented languages, “Garden of time“, a performative garden for the festival de la Cité Lausanne, 2020. She has been collaborating since 2014 as an associate artist with the festival Extension Sauvage (Latifa Labissi / Figure Project).
Guillaume Marie was born in 1980 and lives in Paris. He studied dance at the Paris Opera School of Dance and then at the Conservatoire National Supérieur de Musique et de Danse de Paris. He then danced for Maryse Delente/Les Ballets du Nord, Itzik Galili, Martin Butler, Thierry Smits, Guilherme Botelho and Jan Fabre.
He met Gisèle Vienne in 2006 with whom he collaborated on Kindertotenlieder and Showroomdummies#2 (co-written with Etienne Bideau-Rey). He regularly participates in projects by Jonathan Capdevielle, Gael Depauw, Marlène Saldana and Jonathan Drillet/UPSBD, Gaëlle Bourges, David Wampach, Romeo Castellucci and Cindy Van Acker.
In 2005, Guillaume began a choreographic approach and founded the association Tazcorp/.
He has since signed: We Are Accidents Waiting To Happen (2006) in collaboration with Jonathan Capdevielle, 26th of October, Barcelona 2007 (2007), Trigger (2008) in collaboration with Maria Stamenkovic-Herranz, Nancy (2010), AsfixiA (2011), Spektrum in collaboration with Vidal Bini (2012), Edging (2013), Ruin Porn (2016), ROGER (2019), Nervous System 2020 (2019) in collaboration with Marcel Weber/MFO.
He has also directed two short films: Private Earthquakes (2007) and Spinnen (2009).
Babacar M’baye FALL is a performer of cinema, radio, theater, television. He was born in 1976 in Senegal. He arrived in France in 2000, then trained at the National School of Dramatic Art in Montpellier.
He performed many characters from the classical and modern repertoire in numerous productions, including Shakespeare’s Othello directed by Gilles Bouillon, Le More Cruel directed by Jean-Philippe Clarac & Olivier Deloeuil, Shakespeare’s Le Conte d’Hiver and Le Suicidé directed by Patrick Pineau, La Rose et La Hache directed by Georges Lavaudant, Les Nègres directed by Robert Wilson, Fin de Partie directed by Jean-Claude Fall, Roberto ZUCCO by Bernard Marie Koltès directed by Richard Brunel, Derniers Remords avant l’Oubli by Jean-Luc Lagarce directed by Luc Sabot.
Patrick Riou, after several years of studies at the Toulon Conservatory of Music and training in violin making, began his career in the world of show business alongside the choreographer François Verret. He then discovers a passion for dance with great lighting designers such as Rémy Nicolas, Jacques Chatelet, Pierre Colomère…. These experiences allow him to work in the varied universes of the choreographies of Joseph Nadj, François Raffinot, Karine Saporta, Kubilaï Khan Investigation, Catherine Berbessous and Angelin Preljocaj whose lights he regularly signs.
He created the lights for Gisèle Vienne’s shows: Showroomdummies (creation 2001 and re-writing 2009), I Apologize (2004), Une belle enfant blonde / A young, beautiful blonde girl (2006), Kindertotenlieder (2007), Jerk (2008), Eternelle Idole (2009), This is how you will disappear (2010), LAST SPRING: A Prequel (2011) and The Pyre (2013).
He works with Jonathan Capdevielle on his first three projects : Adishatz/Adieu (creation 2009), Saga (2015) and A nous deux maintenant (2017).
Franck joined the Théâtre du Soleil troupe directed by Ariane Mnouchkine in 1999. He was 20 years old at the time and worked there as an actor until 2002.
This adventure laid the foundations of a vision of the actor’s work around essential axes, multidisciplinarity, the collective, the troupe, the creative actor.
He acquires various techniques and knowledge in the different professional companies in which he works. Masks, clown, Dance, Circus, stunt, combat choreography.
He practices capoeira for 15 years, and other martial arts that complement his body techniques.
Today, at the age of 42, he performs in different Theatre, Street Theatre, Dance or Opera companies in halls and public spaces.
Graduated in Live Performance Technique at the CFPTS of Bagnolet, Ugo COPPIN collaborates on opera, theater and dance projects.
He divides his activities between lighting and general management. He is also punctually a lighting desk trainer for some show companies.
Through his various activities, he favours artistic experiences and encounters, but also the richness of human exchanges and new technologies.
Coline Galeazzi followed her initial training as an actress at the theater conservatory and at the University of Avignon where she obtained a DU and a DET in theater studies in 2001. She then moved to Lyon where she worked with various collectives and companies as an actress exclusively until 2005. Then she decides, as a complement, to train in couture and costume making and obtains a fuzzy cap couture then fashion and headwear, of which she will make her specialization in Germany with Nicky Marqvardt. Since then she has moved back to the Avignon region where she works as a costume designer and/or actress for companies such as Les 7 Soeurs directed by Catherine Hargreaves, Groupe Fantômas, Guillaume Bailliart, MegaSuperTheatre Théodore Oliver, Les Pap’s Deborah Bessole llaves …She has just followed Caroline Guiela’s tour of Saigon, and has been working as head dresser for the IN d’avignon festival for about ten years…
David Goualou is a creator and lighting director for theater and dance. He has notably signed lighting creations for BODOBODÓ production – Juste une cachette -2012 and the Théâtre du Grain – L’étourdissement – 2014. He works regularly at the Quartz – Scène national de Brest as a reception manager and has been in charge of the lighting design of Jonathan Capdevielle’s plays since 2014.
At 6 years old, the recorder. Tired of his teacher’s long 70’s petticoats, he tried it all at the age of 9 and enrolled in the drumming class in his village. He then followed studies of electroacoustic composition and drums at the CNR of Bordeaux. Refusing the mono instrumentalization, he extends his instrumental practice to the steel drum, tablas, balafon, various flutes, synthesizers … and participates in various musical projects. Slightly geeky on the edges, he likes soldering iron and programming. He creates many sound installations, soundtracks for live shows and is trained in sound engineering (Fieldworks company, Coma, Open the dog, Limbo, Frank de Louise, Ariadone, Hamid Ben Mahi, Poppydog, Ola etc. …), worlds in which he still officiates.
Born in Rosny sous-bois, he grew up in the suburbs of Paris and currently lives in Orleans.
He was first stage manager at the ferme du buisson from 1999 to 2003 where he discovered the new circus, dance and contemporary forms. He then participated in the reopening of the Lille Opera under the direction of Caroline Sonrier where he collaborated with many artists, including Jean-François Syvadier whom he followed on several projects in the theater and opera.
He participates in several editions of the Avignon Festival (IN) as stage manager and assistant stage manager.
At the same time, he became stage manager and participated in several plays by Thierry Bédart. In 2010 he joined the company Fragile/Christian Rizzo, where he was the general manager for five years. Since 2015, he has also collaborated with Jonathan Capdevielle/association Poppydog where he is the stage manager. He participated in Saga, A nous deux maintenant and Rémi.
In 2017, he worked with Caroline Nguyen Guiela for the show SAIGON.
In 2018, he worked for the Théâtre National de la Colline and is the general manager of Alexandra Badéa’s show Point de No-Retour and was also employed by the CDN d’Orléans under the direction of Séverine Chavrier.
To this day, he continues to collaborate with the CDN d’Orléans, with Christian Rizzo and especially Jonathan Capdevielle.
Production / Administration
After studying history in Brest, Manon Crochemore entered ENSATT (Ecole Nationale Supérieure des Arts et Techniques du Théâtre) in 2008. For the next two years, she specialized in “Performing Arts Administration”. After completing her degree, she worked for one year as production assistant at the Nouveau Théâtre de Montreuil – Centre Dramatique National, as part of a work placement agreement. During this time, she began collaborating with Raphaëlle Delaunay in the administration of her performing arts company (Traces).
In June 2011, she joined Bureau Cassiopée in order to work with Compagnie Caterina & Carlotta Sagna. She took over the office with Isabelle Morel in March 2016, when the structure was renamed Fabrik Cassiopée
She is currently in charge of the administration of the projects of Jonathan Capdevielle and Mickaël Phelippeau and has been accompanying Marcela Santander Corvalán in the administration, production and dissemination of her projects since September 2016.
Production / Distribution
With a degree in contemporary literature (Université Toulouse-Le Mirail) and an M.A. in International Relations, specializing in cultural project management (University of Paris 1 Panthéon Sorbonne), Isabelle Morel began her career as a project manager for the Ministry of Culture and Communication at the Department of International Affairs on cultural cooperation projects with Eastern Europe. Given her passion for contemporary dance, she then worked from 1996 to 1999 as an Executive Assistant at the Centre de DéveloppementChorégraphique Toulouse-Midi-Pyrénées (the first of its kind in France). After returning to Paris, she became production administrator for the choreographer Marco Berrettini/ Cie *Melk Prod in 2001, whom she accompanied for eight years.
She joined Bureau Cassiopée in 2010 to develop production and diffusion for Cie Caterina & Carlotta Sagna and then, from September 2012, with Christian Rizzo.. She took over the office with Manon Crochemore in March 2016, when the structure was renamed Fabrik Cassiopée. She is currently in charge of production and distribution for projects by Mickaël Phelippeau and Jonathan Capdevielle and since october 2015, she has been at the head of a distribution mission with the CDN Besançon Franche-Comté, headed by Célie Pauthe.
Tour management / Logistics / Communication
Manon Joly trained in communication at the Université Catholique de l’Ouest, then in project design and cultural mediation at the IUT Bordeaux Montaigne, before joining the master’s degree in Cultural Professions at the Université Lille 3. Within this framework, she studied at the San Pablo CEU University in Madrid, and conducted research on the experiences and careers of spectators in classical music, as well as on the notion of the amateur on contemporary dance stages. She works as a mediator at the festival La Folle Journée in Nantes in 2015, and then joins the cultural mediation team of the association Les Concerts de Poche in 2017.
Curious to explore the world of production and distribution within companies, she joined Fabrik Cassiopée in February 2018 for her end-of-studies internship; she is now in charge of touring and residency administration for the projects of Mickaël Phelippeau, Jonathan Capdevielle and Marcela Santander Corvalán.