©Olivier Bonnet
The choreographer Emmanuelle Vo-Dinh explains how her creative choreographic process comes from specific detailed research and structures, which are reset for each new piece. The clear lines underlying all her work are nonetheless visible.
Research by the neurologist Antonio Damasio, about the importance of emotion – inspired her iconic early works Texture/solo and Texture/Composite. Sagen delves into the “anti”-psychiatry of Jean Oury, which deals with schizophrenia. Theses by Françoise Héritier on the masculine/ feminine inspired -transire- and -insight- (2010, 2013). The complex density of these themes facilitate and sharpen the exploration of the dancers’ bodies.
Emmanuelle Vo-Dinh is also interested in repetitive minimalism, notably in CROISéES, White light, Ici/Per.For – 2005, 2006, exploring play in Aboli Bibelot… Rebondi (2008), and exploring it further in Sprint (2013). She chose to create with important musical works by Zeena Parkins, Dusapin, Grisey; and also explores the visual arts.
Director of Le Phare, Centre chorégraphique of Le Havre, Normandie from 2012 to 2021, her works are somewhat more theatrical: Tombouctou déjà-vu (Avignon, 2015), Belles et bois (2016), Simon Says (2017), Cocagne (2018), La forêt de glace (2020), Attractions (2021). Her exhaustive movement vocabulary is constantly challenging established ideas about meanings and senses.
In 2022, she is continuing her research into cinema with ARCANES paysage, a series of performances that combine landscape and setting (Le Moulin d'Andé on the banks of the Seine, Mont Saint-Michel, Étretat, etc.) resonating in dialogue with the work of Abbas Kiarostami (24 frames) and based on exchanges with Palestinian filmmaker Elia Suleiman on the process of writing (It must be heaven). She made her first two short films, Mirari and Everso, in 2023, continuing this research, and at the same time created the trio MIRARI, a stage play, reinventing other landscapes in four different rituals She also directed (autumn 2025) the music video for the song Fantaisie by Camille Bazbaz and Crazy PP. She is currently continuing this cycle of writing around the frame through the work of Yasujirô Ozu. The Japanese filmmaker opens up a rich and complex field for her in a ‘method’ that singularly articulates staging, framing, choreography, and scenography to achieve a cinema that aims for purity. The subject of her research will give rise to the production of a new short film, ARCANES paysage, in 2026, an eponymous performance, and the creation of a female quartet, HIGANBANA, in 2027.
©Olivier Bonnet
The choreographer Emmanuelle Vo-Dinh explains how her creative choreographic process comes from specific detailed research and structures, which are reset for each new piece. The clear lines underlying all her work are nonetheless visible.
Research by the neurologist Antonio Damasio, about the importance of emotion – inspired her iconic early works Texture/solo and Texture/Composite. Sagen delves into the “anti”-psychiatry of Jean Oury, which deals with schizophrenia. Theses by Françoise Héritier on the masculine/ feminine inspired -transire- and -insight- (2010, 2013). The complex density of these themes facilitate and sharpen the exploration of the dancers’ bodies.
Emmanuelle Vo-Dinh is also interested in repetitive minimalism, notably in CROISéES, White light, Ici/Per.For – 2005, 2006, exploring play in Aboli Bibelot… Rebondi (2008), and exploring it further in Sprint (2013). She chose to create with important musical works by Zeena Parkins, Dusapin, Grisey; and also explores the visual arts.
Director of Le Phare, Centre chorégraphique of Le Havre, Normandie from 2012 to 2021, her works are somewhat more theatrical: Tombouctou déjà-vu (Avignon, 2015), Belles et bois (2016), Simon Says (2017), Cocagne (2018), La forêt de glace (2020), Attractions (2021). Her exhaustive movement vocabulary is constantly challenging established ideas about meanings and senses.
In 2022, she is continuing her research into cinema with ARCANES paysage, a series of performances that combine landscape and setting (Le Moulin d'Andé on the banks of the Seine, Mont Saint-Michel, Étretat, etc.) resonating in dialogue with the work of Abbas Kiarostami (24 frames) and based on exchanges with Palestinian filmmaker Elia Suleiman on the process of writing (It must be heaven). She made her first two short films, Mirari and Everso, in 2023, continuing this research, and at the same time created the trio MIRARI, a stage play, reinventing other landscapes in four different rituals She also directed (autumn 2025) the music video for the song Fantaisie by Camille Bazbaz and Crazy PP. She is currently continuing this cycle of writing around the frame through the work of Yasujirô Ozu. The Japanese filmmaker opens up a rich and complex field for her in a ‘method’ that singularly articulates staging, framing, choreography, and scenography to achieve a cinema that aims for purity. The subject of her research will give rise to the production of a new short film, ARCANES paysage, in 2026, an eponymous performance, and the creation of a female quartet, HIGANBANA, in 2027.