{"id":264,"date":"2022-08-25T21:11:36","date_gmt":"2022-07-16T20:14:41","guid":{"rendered":"http:\/\/pavillon-s.com\/pavillon-s-2\/"},"modified":"2026-01-23T14:52:54","modified_gmt":"2026-01-23T13:52:54","slug":"collaborateurs","status":"publish","type":"post","link":"http:\/\/pavillon-s.com\/en\/collaborateurs\/","title":{"rendered":"Collaborateurs"},"content":{"rendered":"","protected":false},"excerpt":{"rendered":"","protected":false},"author":1,"featured_media":94,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[4],"tags":[],"class_list":["post-264","post","type-post","status-publish","has-post-thumbnail","hentry","category-a-propos"],"grid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5,\r\n 2\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 2.5,\r\n \"rightFrameMargin\": 5,\r\n \"topFrameMargin\": 180,\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 1\r\n },\r\n {\r\n \"relid\": 2\r\n },\r\n {\r\n \"relid\": 3\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

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Violette Ang\u00e9<\/span> began studying music and dance at the Conservatoire of Blanc-Mesnil, near Paris. There she came across the work of Odile Duboc, Serge Ricci, Alban Richard, Daniel Dobbels and the Dominique Bagouet dance company. After studying philosophy at the University of Paris 8 (Saint-Denis) and dance at R.I.D.C (Paris), she joined the Coline training programme in Istres in 2010. There she performed pieces by Mathilde Monnier, Georges Appaix, Nacera Belaza, Bernard Glandier, Edmond Russo and Shlomi Tuizer. In 2012, she joined the dance collective Pignon sur rue<\/em> (founded by Micheline Leli\u00e8vre), with whom she works as a dancer, musician and costume designer, thus drawing her different practices together. At the same time, she performs in dance, theatre and puppet companies and sings with various music ensembles. Her desire to share dance and meet different audiences lead her to join the D\u00e9mos project<\/em>, run by the Philharmonie de Paris, in 2019 and the Faire corps<\/em> and\u00a0rayonner project<\/em>, run by Agathe Pfauwadel and C\u00e9line Schneider, in 2022. In 2017, she was supported by Mains d'\u0152uvres<\/em> (Saint-Ouen) and the European Social Fund as part of the \u201cChantiers de creations\u201d programme. Since then, she has designed costumes for Flora Gaudin (Cie Meta), Lou Cantor (Cie Ulysse et Ernest), Adel El Shafey and Ma\u00eblle D\u00e9ral (Cie Le Scribe), Magali Milian and Romuald Luydlin (Cie la Zampa), Agathe Pfauwadel and St\u00e9phane Imbert (Cie Pasarela & Cie Lucane).
An intern in 2012 for Revolve<\/em>, a dance work by Emmanuelle Vo-Dinh at the Centre national chor\u00e9graphique du Havre Normandie, she subsequently worked on artistic interventions in public institutions and was an assistant to Emmanuelle Vo-Dinh on Belles et Bois<\/em>, Simon says<\/em> and La for\u00eat de glace<\/em>. Violette Angers is a dancer in Emmanuelle Vo-Dinh's works Cocagne, Attractions, ARCANES paysages, Orukami, Mirari <\/em>and Higanbana.<\/em><\/p>

A classically trained dancer, Gilles Baron<\/span> took a contemporary approach as a performer in various companies (Cie Y. Alexandre, Cie S. Ricci, Cie T. Duchatelet, Cie Alias, Cie R. Horta, Cie S. Mathieu, etc.). Alongside his work as a performer, he developed a choreographic approach and won several awards. In 1995, Yourgos Loukos, director of the Cannes International Dance Festival, commissioned him to create a piece, Document 01, for the eleventh edition of the festival. He met Marie-Claude Pietragalla, for whom he wrote a solo piece, Document 01 solo, and toured the world with her. In 1998, he began several collaborations with the circus, which led him, for example, to Tunisia in 2007 to stage Halfaou\u00eene for the Cirque National de Tunis. In 2011, Gilles Baron embarked on a new research project in choreographed circus, which questions the aging bodies of circus artists and studies the transformation of their bodies in relation to the practice and rehearsal of their acts.
In 2012, he questioned the notion of territory and wrote the solo Sunnyboom, which he performed in the forest. With Emmanuelle Vo-Dinh, he participated in the re-creation of Eaux-Fortes<\/em> and in the creations Tombouctou d\u00e9j\u00e0-vu<\/em>, Cocagne<\/em>, and Attractions<\/em>.<\/span><\/span><\/p>

Alexia Bigot<\/span> trained in contemporary dance at the Conservatoire National Sup\u00e9rieur de Musique et de Danse de Paris with Peter Goss, Andr\u00e9 Lafonta, Suzanne Alexander, Odile Rouquet and Christine G\u00e9rard, among others. She then spent a year at the Junior Ballet, where she performed pieces from the repertory of Lucinda Childs, Merce Cunningham, Jo Stromgren, F\u00e9lix Blaska and a new dance by Herv\u00e9 Robbe. She joined Herv\u00e9 Robbe's company in 2001 and worked with him on numerous projects, including the duet Rew<\/em>, L\u00e0 on y danse<\/em>, La tentation d'un ermitage<\/em>, the video projects Wave 02,<\/em> So long<\/em>, and most recently, the retrospective project of Herv\u00e9 Robbe's career, A New Landscape<\/em>, which premiered in 2017. In 2008, she met Emmanuelle Vo Dinh for the creation of Ad Astra<\/em> and has continued the adventure with her to this day, taking part in the dance works Fractale, the body and voice diptych Transire\/Insight<\/em>, Revolve<\/em>, Tombouctou d\u00e9j\u00e0 vu<\/em>, Cocagne, Attractions, ARCANES paysages, Orukami, Mirari<\/em> and Higanbana<\/em>. She is also involved in Emmanuelle Vo- Dinh\u2019s projects for young audiences: Belles et bois<\/em> and La for\u00eat de glace<\/em>. She has crossed paths with other choreographers as well, such as Edmond Russo and Shlomi Tuizer (Cie Affari Esteri) for the dances Lings and Temp\u00e9raments, Sarah Cr\u00e9pin and \u00c9tienne Cuppens (Cie La Bazooka), Virginie Mirbeau (Cie Arts Fusion) for the solo Medea Stimmen, David Drouard (DADR Cie), Gilles Baron (Cie Origami) for the dances Reines and Aux corps passants.
In parallel with her career as a performer, Alexia Bigot takes pleasure in encounters that raise awareness of creative work with all kinds of communities, as well as in schools and conservatories. She is also interested in practices that develop the potential of a creative and sensitive body, particularly through Feldenkrais and Perceptive Psychopedagogy (sensory gymnastics, touch in relation, full-presence meditation), a method for which she is currentl training.<\/p>

Aniol Busquets<\/span> is a choreographer, dancer-performer, assistant choreographer, artistic advisor, and production and distribution manager. He began his artistic training in 1996 at the Eul\u00e0lia Blasi School in Barcelona, at SEAD in Salzburg in 1999, and at P.A.R.T.S in Brussels in 2000. He also graduated from the Conservatorio Superior de Danza de Barcelona in 2003 and completed the Excerce training program at the CCN in Montpellier, directed by Mathilde Monnier, in 2005.<\/span><\/p><\/div><\/div><\/div>

Between 2005 and 2024, he was a dancer-performer for choreographers Mathilde Monnier in Fr\u00e9re & Soeur<\/em> and Sursauts<\/em>, David Wampach in Battement<\/em> and Cassette<\/em>, Aina Alegre in Le jour de la b\u00eate<\/em> and Parades & D\u00e9sob\u00e9issances<\/em>, Arthur Perole in BBB<\/em>, H\u00e9l\u00e8ne Iratchet in Roi et Reine<\/em>, Valeria Giuga in She was dancing<\/em>, ZOO, La Machine and Coaching<\/em>, Emmanuelle Vo-Dinh in Cocagne<\/em> and Attractions<\/em>, M\u00e1rcia Lan\u00e7a in O deseijo ignorante<\/em>, Rita Cioffi in Pomme33<\/em>, Thibaud Le Maguer in the solo Paysage de la disparition<\/em>, Lorena Dozio in Otolithes<\/em> and Otolithes on air<\/em>, Aur\u00e9lien Richard in Revue macabre<\/em>, David Rolland in L'\u00e9tranger au paradis<\/em> and Les lecteurs<\/em>, Louis Ziegler in Danses de l\u00e0, Bombe B\u00e0l and Folk danse process<\/em>, Christian Ubl in Shake it out<\/em>, among others.
<\/span><\/span>He is assistant to choreographers \u00c8ve Magot for the piece Dans le Mille<\/em> in 2021 and Aina Alegre in the pieces La Nuit Nos Autres<\/em> in 2019 and This is not<\/em> in 2023, currently on tour. He worked as a production assistant for choreographer Aina Alegre between 2017 and 2020 on Le Jour de la b\u00eate<\/em>, La nuit nos autres<\/em>, and R.A.U.X.A<\/em>, and will be the production manager for the 50th edition of the Cadaqu\u00e9s International Music Festival in 2022. He has been assisting choreographer Marion Carriau with production and distribution since 2020 in Je suis tous les dieux<\/em>, Ch\u00eane centenaire<\/em>, Des for\u00eats des lunes<\/em>, and Amiral S\u00e9n\u00e8s<\/em> (2024 creation), director Marc Garcia Cot\u00e9 since 2021 in C'\u00e9tait un grand bateau<\/em> et j'ai gliss\u00e9 and La clameur du vide<\/em> (2024 creation), and choreographer S\u00e9verine Ri\u00e8me since 2022 in Iris (2023-24 creation).
Still on tour for the 2024 season, he will dance in the plays La Machine<\/em> by Valeria Giuga, Attractions<\/em> by Emmanuelle Vo-Dinh, BBB<\/em> by Arthur Perole, and Parades & D\u00e9sob\u00e9issances<\/em> by Aina Alegre.<\/p>

After training in contemporary dance in Lyon, and later in Montpellier at the <\/span>ex.er.c.e<\/i> program led by Mathilde Monnier in 2000, <\/span>Maeva Cunci<\/span> collaborated with numerous choreographers (David Wampach, Julie Desprairies, Thibaud Le Maguer, Myl\u00e8ne Benoit, Manon Santkin, Marion Carriau, Camille Cau). At the same time, she was involved with <\/span>Clubdes5<\/i> (2001-2008), a collective of performers with Typhaine Heissat, Maud Le Pladec, Micka\u00ebl Phelippeau, and Virginie Thomas, where many collective performances were created, and where she also signed personal choreographic works. She worked actively with Dominique Gilliot in the field of performance and contemporary art, creating a theater piece together called <\/span>La Repr\u00e9sentation de trop<\/i>. She was part of <\/span>Les Vraoums<\/i> with Pauline Curnier-Jardin, Aude Lachaise, and Virginie Thomas, a performative and musical project, and regularly assisted Micka\u00ebl Phelippeau on several choreographic projects. Alongside Emmanuelle Vo-Dinh, she contributed to the creation of <\/span>D\u00e9compositions<\/i>, <\/span>White Light<\/i>, <\/span>Fractale<\/i>, <\/span>Ad astra<\/i>, <\/span>Sprint<\/i>, <\/span>Tombouctou d\u00e9j\u00e0-vu<\/i>, <\/span>Cocagne<\/i>, <\/span>Attractions<\/i>, <\/span>Cosmo-bal<\/i>, and the revivals of <\/span>Crois\u00e9es<\/i> and <\/span>Aboli Bibelot... Rebondi!<\/i>. She also designed the costumes for <\/span>Aboli Bibelot... Rebondi!<\/i>, <\/span>5'24<\/i>, <\/span>Eaux-<\/i>Fortes<\/i>, <\/span>Rainbow<\/i>, <\/span>La poterie punaise<\/i>, <\/span>Cocagne<\/i>, and <\/span>Attractions<\/i>. <\/span>In addition to her work as a choreographer, she is a skilled embroiderer, a resident of the forest, an apprentice in gardening, dry-stone wall building, and log splitting. She also devotes herself to writing and drawing.<\/span><\/p><\/div><\/div><\/div>

Jeanne Durouchoux<\/span> was introduced to contemporary dance and circus arts by her parents, who were choreographers. She trained at the Conservatoire National Sup\u00e9rieur de Musique et de Danse de Paris, where she experienced life in a young company with the Ensemble Chor\u00e9graphique. She thus explored the repertoire of various choreographers such as Andy de Groat, Benjamin Millepied, Trisha Brown, Emanuel Gat, and Philippe Decoufl\u00e9, enriching her experience. She will complete her Master's degree in dance performance, repertoire, and creation in 2021. Since graduating, she has met and worked with various artists, collectives, and choreographers such as Emmanuelle Vo-Dinh on her creations Waveparty and Attractions, as well as Amala Dianor, Mathilde Monnier, and Robert Cantarella. She is also participating in the collective creation of the artistic project <\/span>PANORAMA<\/em>, produced at the Th\u00e9\u00e2tre de la Cit\u00e9 Internationale in collaboration with the<\/span> MxM collective<\/em>. She will obtain her state diploma as a dance teacher in 2023 and is beginning the creation of a new choreographic piece with Jean-Yves Phuong, <\/span>Nouons-nous.<\/em><\/p><\/div>

After graduating from the Conservatoire National Sup\u00e9rieur de Paris, Cyril Geeroms<\/span> completed his training by joining the Conservatoire's Junior Ballet until May 2001. He began dancing with Karine Saporta, then with Mi\u00e9 Coquempot, Thomas Duch\u00e2telet, Panxika Telleria, Annick Charlot, Odile Duboc, Sylvain Groud, Lionel Hoche, Samuel Mathieu, Serge Ricci, Fran\u00e7oise Tartainville, and Gilles Baron. He currently works with Panxika Telleria.
With Emmanuelle Vo-Dinh, he participated in the creation of Sagen, D\u00e9compositions, CROIS\u00e9ES, Eaux-fortes, Fractale, -transire- & -insight-, Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, La for\u00eat de glace, Attractions, and Belles et bo\u00eetes.
Alongside his career as a performer, he became a Pilates instructor and trained in first aid.
<\/span><\/p>

After studying engineering, where Jean-Michel F\u00eate<\/span> discovered the \u201ctruthful lying\u201d of commercial negotiation, he decided to become an actor in order to have a more honest relationship with his audience. He then spent several years training with Jean P\u00e9rimony, Pascal Luneau, and Pascal Rambert, among others, who opened the doors to cinema and television for him. He has appeared in films by Laurent Bouhnik, Didier Lep\u00eacheur, Karim Dridi, Bertrand Blier, Claude Pinoteau, Alain Corneau, Nadine Trintignant, Alain Tasma, Antoine De Caunes, Christophe Lamotte, Abdel Kechiche, \u00c9ric Rochant, Tonie Marshall, Jean-Paul Rappeneau, Olivier Marchal, Mikael Hers, and others. In 2000, he crossed paths with Emmanuelle Vo-Dinh and Fran\u00e7ois Raffinot, who invited him to participate in their show Al Segno. He later collaborated on two other creations by F. Raffinot, and E. Vo-Dinh called on him again for her projects Double jeu<\/em> and Attractions<\/em>.

Com\u00e9dienne et chanteuse, Camille Kerdellant<\/span> participe \u00e0 la conception et interpr\u00e8te les mises en sc\u00e8ne de Rozenn Fournier avec qui elle fonde la compagnie KF Association en 1999. Leur derni\u00e8re cr\u00e9ation Ma Famille<\/em> de Carlos Liscano est en tourn\u00e9e en Europe depuis 2011.<\/span>
Com\u00e9dienne, elle travaille sous la direction de metteurs en sc\u00e8ne de th\u00e9\u00e2tre: P. Venin, M. Bernard, G. Le Guillou-Castel, L. Fonvielle, G. H\u00e9raut, G. Doucet, la Cie Udrolik, C. Gourmelon, S. Jacquemont, B. Gasnier, T. Beucher, B. Colin, B. Lotti, A Kowalczyck, R. Fournier,... Elle con\u00e7oit et interpr\u00e8te avec le pianiste Henri J\u00e9gou le spectacle Gris\u00e9lidis<\/em> ou la Passe Imaginaire<\/em> en tourn\u00e9e en France depuis 2010. Lectrice, elle con\u00e7oit et interpr\u00e8te de nombreuses lectures spectacles (po\u00e9sie et roman) en compagnie de musiciens (contrebassiste, claquettiste, pianiste, percussionniste\u2026) pour des festivals et \u00e9v\u00e8nements consacr\u00e9s \u00e0 la litt\u00e9rature. Avec Emmanuelle Vo-Dinh, elle participe \u00e0 la cr\u00e9ation de -transire- & -insight- Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, La for\u00eat de glace, Attractions <\/em>et Belles et bo\u00eetes.<\/em><\/span>
Elle enregistre r\u00e9guli\u00e8rement en studio des voix pour des documentaires audiovisuels, films d\u2019animation (JPL films, Vivement Lundi ...) et pour des doublages au cin\u00e9ma et en audiodescription.
Elle intervient \u00e9galement en direction de jeu aupr\u00e8s de la compagnie de cirque contemporain Le Ptit Cirk\u00a0: Hirizin, le\u00a0Carlon\u00e9on de Philippe Olivier,\u00a0le groupe de musique blues exp\u00e9rimental\u00a0: Dalva,\u00a0<\/span>le Stabat Mater Furiosa de Sim\u00e9on port\u00e9 par Sophie Hoareau et\u00a0participe \u00e0 l\u2019\u00e9criture du spectacle musical Clart\u00e9<\/em> de D. Monceau.
<\/span><\/p>

Born in West-Germany, Sabine Macher<\/span> is a dancer, writer, translater and photographer based in Paris, France. Her work is triggered by observation, description and synesthetic close up, as well as attracted to immanence and its forms. She conceives stage projects enhancing the minimal conditions of the performing arts : gathering at the same time in the same place for a limited duration in order to emit and receive what can be heard or seen.
As a dancer she has worked with a wide range of choreographers and theater directors such as Yoshiko Chuma, Georges Appaix, Laurent Pichaud, Eleonore Didier, Micka\u00ebl Ph\u00e9lippeau, Xavier Leroy, J\u00e9r\u00f4me Bel, Jo\u00e3o Dos Santos Martins, Ana Rita Teodoro, Teresa Silva, or Alain Fourneau, Robert Cantarella, Daniel Jeanneteau and Tino Sehgal. Since 2018, she has been an artistic colaborator to Emmanuelle Vo-Dinh\u2019s works such as Cocagne, Attractions<\/em>, ARCANES paysage<\/em>, Mirari and the upcoming HIGANBANA<\/em>.
Sabine Macher has published 13 books of her own and translated 5 books by Ceija Stojka, Kurt Schwitters, and Irinia Liebmann from german to french.<\/p>

After studying geology, Fran\u00e7oise Michel<\/span> trained in stage management at the National Theatre School of Strasbourg, which was then directed by Jean-Pierre Vincent. In 1980, she met Odile Duboc and was introduced to contemporary dance. This marked the beginning of a long collaboration in the design and realization of performances. Over the years, she has created lighting for Josette Ba\u00efz, Hideyuki Yano, Francine Lancelot, Mark Tompkins, Georges Appaix, Fran\u00e7ois Raffinot, the Dunes group, Daniel Larrieu, and many others. She has also remained involved in the theatrical world, working with Val\u00e8re Novarina, Fran\u00e7ois Chattot, H\u00e9l\u00e8ne Vincent, Lambert Wilson, Yoshi O\u00efda, and more. With Odile Duboc, her work on lighting led her to create the set design for several pieces (Tha\u00efs<\/i>, Le Pupille veut \u00eatre tuteur<\/i>...). Fran\u00e7oise Michel views light as a form of writing: \\\"Light does not come to complete something, it is at work at the same time as the choreography.\\\"<\/p>

David Monceau<\/span> is a composer who creates music for live performance and image projects. For Emmanuelle Vo-Dinh he wrote the music for White Light, Rainbow, Ad astra, -transire-, En-Joy<\/em> (un morceau de mon esprit), Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, Waveparty, Attractions, La for\u00eat de glace, Belles et bo\u00eetes, Arcanes paysage, Mirari, Orukami.<\/em> For Karine Ponties (Belgium), he created the music for Humus Vertebra, Mirliflor, Lamali Lokta, Luciola and Tyran(s). He has also written music for Stephano Ricci (Italy, animated films), Anna Abalikhina (Russia), Ivan Estegneev (Russia), Ayelen Parolin (Belgium), Pierre-Fran\u00e7ois Lebrun (documentaries), F\u00e9licette Chazerand, Yves No\u00ebl Genod, Peneloppe Parrau, KF Association and Le Th\u00e9\u00e2tre des Op\u00e9rations. He is also a dancer in a number of contemporary dance companies, notably Emmanuelle Vo-Dinh (since 2000), Herman Diephuis, Julie Des Prairies, Jean-Marc Heim, Pierre Cotreau and Geisha Fontaine, Christine Le Berre and Patrick Le Doar\u00e9. He is also the writer\/composer of Olyphant and also Henri Mezey with David Euverte.<\/p>

Trained as an architect, visual artist, videographer, and scenographer Laure Delamotte-Legrand<\/span> discovered the concept of \u201cGenius of Place\u201d during her studies, leaving her mark on her work with a keen interest in the question of context. Added to this is a sensitivity to contemporary dance, which she nurtured through a DEA (Master's degree) in Theater and Choreography at Paris VIII, focusing on movement analysis.
She explores questions of the body's presence in space: movement and gesture, both in her solo work as a visual artist and in collaborations with the contemporary dance community. She trained in video, an essential tool in what she wishes to express through gesture and presence.
<\/span>Her creations are hybrid in nature: objects, photographs, performances, and videos are brought together in installations or displays, which have been presented for the past fifteen years in art centers, choreographic centers, national theaters, and for local communities. These multiple media are complementary facets that help to convey a context, a sensitive atmosphere, or one or more encounters.
For the past fifteen years, she has collaborated with numerous choreographers: Julie Nioche, Emmanuelle Vo-Dinh, Thierry Thie\u00fb Niang, Pierre Droulers, Mustafa Kaplan, Donata Durso, Lisa Da Boit, Shifts art in movement, Margot Dorl\u00e9ans, and others. A selection of her videos was screened as part of Videodanse at Beaubourg in 2009. Between 2014 and 2021, she actively collaborated with Le Phare, Centre Chor\u00e9graphique National du Havre Normandie, directed by Emmanuelle Vo-Dinh. As part of the Pharenheit Festival, she presented the photographic series Lock Unlock<\/i> in 2015, the film Un, Nous<\/em> in collaboration with choreographer Thierry Thie\u00fb Niang in 2016, and Dolldrums<\/i> in 2018, a video installation consisting of four films, which was then presented at ICI Centre Chor\u00e9graphique de Montpellier and then at the Maison des M\u00e9tallos in Paris in 2019. She collaborated with Emmanuelle-Dinh on the videos for her piece La for\u00eat de Glace<\/i>. In parallel with her own creations, she has been making video recordings for contemporary dance for over ten years.
As a scenographer, she imagines spaces halfway between scenography and plastic art. She has worked with choreographers and directors such as Julie Nioche, Cie Akte, Margot Dorl\u00e9ans, L\u00e9a Dante, and Shifts art in movement. Since 1998, she has occasionally led workshops in plastic arts and scenography, in partnership with numerous cultural structures in the visual arts and performing arts.
From 2007 to 2013, she was an exhibition curator for contemporary art events (Les Dessous du patrimoine <\/i>and Rouen Impressionn\u00e9e<\/i> - City of Rouen) and artistic coordinator in 2011 for the Grande Veill\u00e9e<\/i> (Automne en Normandie festival).
Since 2011, she has been developing Vasterival<\/i>, a vast project focusing on the coastline, part of which was presented in 2019 at the MuMa, Andr\u00e9 Malraux Museum of Modern Art in Le Havre. She has been collaborating on this project since 2018 with CRAFT (Centre de Recherche sur les Arts du Feu et de la Terre, Limoges). Several residencies are currently underway at CRAFT in preparation for three events: an exhibition at the La Forme gallery in Le Havre (summer 2022), a major exhibition at the Galerie des Hospices in Limoges (April-May 2023), and R\u00e9v\u00e9lations at the Grand Palais in Paris (June 2023).
As part of the France-Portugal year, in partnership with the City of Rouen, the municipality of Aveiro, and the Institut Fran\u00e7ais, she is being hosted in a creative residency at the Vista Alegre porcelain factory near Aveiro (Portugal).<\/p>

Anette Lenz<\/span> is a graphic designer. Originally from Germany, she has chosen to live and work in Paris. Concerned with the question of public space in the broadest sense, she works with a variety of clients, including public cultural institutions, particularly in the performing arts (Pavillon-s, Le Phare National Choreographic Center of Le Havre Normandy \u2013 directed by Emmanuelle Vo-Dinh, the Centre Pompidou, the Palais de Tokyo, the Fondazione Bonotto, Herm\u00e8s, L'Onde \u2013 theater and art center, the Sc\u00e8ne nationale d'Angoul\u00eame, the Nouveau Relax Chaumont, La Filature, Sc\u00e8ne nationale de Mulhouse, and Th\u00e9\u00e2tre d\u2019Auxerre, the Mus\u00e9e des Arts d\u00e9coratifs in Paris and Bordeaux, the Ministry of Culture, the Senate, FRAC Bourgogne, Radio France, Arte, etc.). Anette Lenz sees graphic design as a powerful tool for poetic and political connection. Her internationally recognized work is regularly exhibited, such as at the Museum Angewandte Kunst in Frankfurt, Germany, with her solo exhibition A propos in 2020-21.
<\/i>She is a member of the Alliance Graphique Internationale and a professor of graphic design at HEAD in Geneva.<\/p>

Sascha Nordmeyer<\/span>, 46, is a Franco-German contemporary artist based in Reims. Initially a designer, he made a name for himself with the Communication Prosthesis project, which was exhibited at MoMA in New York in 2011.
Combining design technology and handcraftsmanship since 2016, he creates airy, transparent installations made of paper and metal that invite viewers to immerse themselves and develop an intimate relationship with the work. Fascinated by light, he installs movement, rhythm, and vibration in his spaces and times. Like a musician, he develops an artistic practice that puts people at the center while awakening their senses and emotions. Sascha Nordmeyer exhibits regularly throughout Europe and Japan. In France, he is represented by the Slotine Gallery in Paris.<\/p>


After studying art history, performing arts, and cultural policy in France and the United States, Solenne Racap\u00e9<\/span> worked for various cultural organizations and dance companies before joining the production office Le 26 in 2003. Since 2009, she has been working with choreographer Emmanuelle Vo-Dinh on both the staging of her productions and the development of all her activities. From 2012 to 2021, she co-directed Le Phare, Centre chor\u00e9graphique national du Havre Normandie, with Emmanuelle Vo-Dinh.
She was a member of the board of the Association des Centres Chor\u00e9graphiques Nationaux (Association of National Choreographic Centers) from November 2016 to October 2018, is a member of the dance advisory committee for the DRAC Normandie (Regional Directorate for Cultural Affairs), and teaches in the Master's program in cultural and creative industries at Neoma Business School in Rouen.
From January 2022 to March 2025, she is leading the Pavillon-s project with Emmanuelle Vo-Dinh, based in Rouen and And\u00e9. After three years devoted to developing the Pavillon-s project, Solenne Racap\u00e9 wanted to embark on new adventures.<\/p>

Antoine P\u00e9tin<\/span> joined Pavillon-s in April 2025 as production director, Camille Bono<\/span> as production and distribution manager for Emmanuelle Vo-Dinh's creations, and Capucine Baran\u00e8s<\/span> as production manager for WEI! Week-End int\u00e9gral.<\/p><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","phonegrid":"{\r\n \"colCount\": 12,\r\n \"colGutter\": 1,\r\n \"rowGutters\": [\r\n 5,\r\n 5\r\n ],\r\n \"frameMargin\": 5,\r\n \"leftFrameMargin\": 5,\r\n \"rightFrameMargin\": 5,\r\n \"topFrameMargin\": \"15\",\r\n \"bottomFrameMargin\": 5,\r\n \"rowAttrs\": [\r\n {\r\n \"relid\": 5\r\n },\r\n {\r\n \"relid\": 7\r\n },\r\n {\r\n \"relid\": 8\r\n }\r\n ],\r\n \"bgColor\": null,\r\n \"bgImage\": null,\r\n \"cont\": [\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

About<\/a><\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 0,\r\n \"col\": 0,\r\n \"colspan\": 8,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 9,\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Collaborators<\/h1>\",\r\n \"align\": \"top\",\r\n \"row\": 1,\r\n \"col\": 0,\r\n \"colspan\": 7,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 4,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n },\r\n {\r\n \"type\": \"text\",\r\n \"cont\": \"

Violette Ang\u00e9<\/span> began studying music and dance at the Conservatoire of Blanc-Mesnil, near Paris. There she came across the work of Odile Duboc, Serge Ricci, Alban Richard, Daniel Dobbels and the Dominique Bagouet dance company. After studying philosophy at the University of Paris 8 (Saint-Denis) and dance at R.I.D.C (Paris), she joined the Coline training programme in Istres in 2010. There she performed pieces by Mathilde Monnier, Georges Appaix, Nacera Belaza, Bernard Glandier, Edmond Russo and Shlomi Tuizer. In 2012, she joined the dance collective Pignon sur rue<\/em> (founded by Micheline Leli\u00e8vre), with whom she works as a dancer, musician and costume designer, thus drawing her different practices together. At the same time, she performs in dance, theatre and puppet companies and sings with various music ensembles. Her desire to share dance and meet different audiences lead her to join the D\u00e9mos project<\/em>, run by the Philharmonie de Paris, in 2019 and the Faire corps<\/em> and\u00a0rayonner project<\/em>, run by Agathe Pfauwadel and C\u00e9line Schneider, in 2022. In 2017, she was supported by Mains d'\u0152uvres<\/em> (Saint-Ouen) and the European Social Fund as part of the \u201cChantiers de creations\u201d programme. Since then, she has designed costumes for Flora Gaudin (Cie Meta), Lou Cantor (Cie Ulysse et Ernest), Adel El Shafey and Ma\u00eblle D\u00e9ral (Cie Le Scribe), Magali Milian and Romuald Luydlin (Cie la Zampa), Agathe Pfauwadel and St\u00e9phane Imbert (Cie Pasarela & Cie Lucane).
An intern in 2012 for Revolve<\/em>, a dance work by Emmanuelle Vo-Dinh at the Centre national chor\u00e9graphique du Havre Normandie, she subsequently worked on artistic interventions in public institutions and was an assistant to Emmanuelle Vo-Dinh on Belles et Bois<\/em>, Simon says<\/em> and La for\u00eat de glace<\/em>. Violette Angers is a dancer in Emmanuelle Vo-Dinh's works Cocagne, Attractions, ARCANES paysages, Orukami, Mirari <\/em>and Higanbana.<\/em><\/p>

A classically trained dancer, Gilles Baron<\/span> took a contemporary approach as a performer in various companies (Cie Y. Alexandre, Cie S. Ricci, Cie T. Duchatelet, Cie Alias, Cie R. Horta, Cie S. Mathieu, etc.). Alongside his work as a performer, he developed a choreographic approach and won several awards. In 1995, Yourgos Loukos, director of the Cannes International Dance Festival, commissioned him to create a piece, Document 01, for the eleventh edition of the festival. He met Marie-Claude Pietragalla, for whom he wrote a solo piece, Document 01 solo, and toured the world with her. In 1998, he began several collaborations with the circus, which led him, for example, to Tunisia in 2007 to stage Halfaou\u00eene for the Cirque National de Tunis. In 2011, Gilles Baron embarked on a new research project in choreographed circus, which questions the aging bodies of circus artists and studies the transformation of their bodies in relation to the practice and rehearsal of their acts.
In 2012, he questioned the notion of territory and wrote the solo Sunnyboom, which he performed in the forest. With Emmanuelle Vo-Dinh, he participated in the re-creation of Eaux-Fortes<\/em> and in the creations Tombouctou d\u00e9j\u00e0-vu<\/em>, Cocagne<\/em>, and Attractions<\/em>.<\/span><\/span><\/p>

Alexia Bigot<\/span> trained in contemporary dance at the Conservatoire National Sup\u00e9rieur de Musique et de Danse de Paris with Peter Goss, Andr\u00e9 Lafonta, Suzanne Alexander, Odile Rouquet and Christine G\u00e9rard, among others. She then spent a year at the Junior Ballet, where she performed pieces from the repertory of Lucinda Childs, Merce Cunningham, Jo Stromgren, F\u00e9lix Blaska and a new dance by Herv\u00e9 Robbe. She joined Herv\u00e9 Robbe's company in 2001 and worked with him on numerous projects, including the duet Rew<\/em>, L\u00e0 on y danse<\/em>, La tentation d'un ermitage<\/em>, the video projects Wave 02,<\/em> So long<\/em>, and most recently, the retrospective project of Herv\u00e9 Robbe's career, A New Landscape<\/em>, which premiered in 2017. In 2008, she met Emmanuelle Vo Dinh for the creation of Ad Astra<\/em> and has continued the adventure with her to this day, taking part in the dance works Fractale, the body and voice diptych Transire\/Insight<\/em>, Revolve<\/em>, Tombouctou d\u00e9j\u00e0 vu<\/em>, Cocagne, Attractions, ARCANES paysages, Orukami, Mirari<\/em> and Higanbana<\/em>. She is also involved in Emmanuelle Vo- Dinh\u2019s projects for young audiences: Belles et bois<\/em> and La for\u00eat de glace<\/em>. She has crossed paths with other choreographers as well, such as Edmond Russo and Shlomi Tuizer (Cie Affari Esteri) for the dances Lings and Temp\u00e9raments, Sarah Cr\u00e9pin and \u00c9tienne Cuppens (Cie La Bazooka), Virginie Mirbeau (Cie Arts Fusion) for the solo Medea Stimmen, David Drouard (DADR Cie), Gilles Baron (Cie Origami) for the dances Reines and Aux corps passants.
In parallel with her career as a performer, Alexia Bigot takes pleasure in encounters that raise awareness of creative work with all kinds of communities, as well as in schools and conservatories. She is also interested in practices that develop the potential of a creative and sensitive body, particularly through Feldenkrais and Perceptive Psychopedagogy (sensory gymnastics, touch in relation, full-presence meditation), a method for which she is currentl training.<\/p>

Aniol Busquets<\/span> is a choreographer, dancer-performer, assistant choreographer, artistic advisor, and production and distribution manager. He began his artistic training in 1996 at the Eul\u00e0lia Blasi School in Barcelona, at SEAD in Salzburg in 1999, and at P.A.R.T.S in Brussels in 2000. He also graduated from the Conservatorio Superior de Danza de Barcelona in 2003 and completed the Excerce training program at the CCN in Montpellier, directed by Mathilde Monnier, in 2005.<\/span><\/p><\/div><\/div><\/div>

Between 2005 and 2024, he was a dancer-performer for choreographers Mathilde Monnier in Fr\u00e9re & Soeur<\/em> and Sursauts<\/em>, David Wampach in Battement<\/em> and Cassette<\/em>, Aina Alegre in Le jour de la b\u00eate<\/em> and Parades & D\u00e9sob\u00e9issances<\/em>, Arthur Perole in BBB<\/em>, H\u00e9l\u00e8ne Iratchet in Roi et Reine<\/em>, Valeria Giuga in She was dancing<\/em>, ZOO, La Machine and Coaching<\/em>, Emmanuelle Vo-Dinh in Cocagne<\/em> and Attractions<\/em>, M\u00e1rcia Lan\u00e7a in O deseijo ignorante<\/em>, Rita Cioffi in Pomme33<\/em>, Thibaud Le Maguer in the solo Paysage de la disparition<\/em>, Lorena Dozio in Otolithes<\/em> and Otolithes on air<\/em>, Aur\u00e9lien Richard in Revue macabre<\/em>, David Rolland in L'\u00e9tranger au paradis<\/em> and Les lecteurs<\/em>, Louis Ziegler in Danses de l\u00e0, Bombe B\u00e0l and Folk danse process<\/em>, Christian Ubl in Shake it out<\/em>, among others.
<\/span><\/span>He is assistant to choreographers \u00c8ve Magot for the piece Dans le Mille<\/em> in 2021 and Aina Alegre in the pieces La Nuit Nos Autres<\/em> in 2019 and This is not<\/em> in 2023, currently on tour. He worked as a production assistant for choreographer Aina Alegre between 2017 and 2020 on Le Jour de la b\u00eate<\/em>, La nuit nos autres<\/em>, and R.A.U.X.A<\/em>, and will be the production manager for the 50th edition of the Cadaqu\u00e9s International Music Festival in 2022. He has been assisting choreographer Marion Carriau with production and distribution since 2020 in Je suis tous les dieux<\/em>, Ch\u00eane centenaire<\/em>, Des for\u00eats des lunes<\/em>, and Amiral S\u00e9n\u00e8s<\/em> (2024 creation), director Marc Garcia Cot\u00e9 since 2021 in C'\u00e9tait un grand bateau<\/em> et j'ai gliss\u00e9 and La clameur du vide<\/em> (2024 creation), and choreographer S\u00e9verine Ri\u00e8me since 2022 in Iris (2023-24 creation).
Still on tour for the 2024 season, he will dance in the plays La Machine<\/em> by Valeria Giuga, Attractions<\/em> by Emmanuelle Vo-Dinh, BBB<\/em> by Arthur Perole, and Parades & D\u00e9sob\u00e9issances<\/em> by Aina Alegre.<\/p>

After training in contemporary dance in Lyon, and later in Montpellier at the <\/span>ex.er.c.e<\/i> program led by Mathilde Monnier in 2000, <\/span>Maeva Cunci<\/span> collaborated with numerous choreographers (David Wampach, Julie Desprairies, Thibaud Le Maguer, Myl\u00e8ne Benoit, Manon Santkin, Marion Carriau, Camille Cau). At the same time, she was involved with <\/span>Clubdes5<\/i> (2001-2008), a collective of performers with Typhaine Heissat, Maud Le Pladec, Micka\u00ebl Phelippeau, and Virginie Thomas, where many collective performances were created, and where she also signed personal choreographic works. She worked actively with Dominique Gilliot in the field of performance and contemporary art, creating a theater piece together called <\/span>La Repr\u00e9sentation de trop<\/i>. She was part of <\/span>Les Vraoums<\/i> with Pauline Curnier-Jardin, Aude Lachaise, and Virginie Thomas, a performative and musical project, and regularly assisted Micka\u00ebl Phelippeau on several choreographic projects. Alongside Emmanuelle Vo-Dinh, she contributed to the creation of <\/span>D\u00e9compositions<\/i>, <\/span>White Light<\/i>, <\/span>Fractale<\/i>, <\/span>Ad astra<\/i>, <\/span>Sprint<\/i>, <\/span>Tombouctou d\u00e9j\u00e0-vu<\/i>, <\/span>Cocagne<\/i>, <\/span>Attractions<\/i>, <\/span>Cosmo-bal<\/i>, and the revivals of <\/span>Crois\u00e9es<\/i> and <\/span>Aboli Bibelot... Rebondi!<\/i>. She also designed the costumes for <\/span>Aboli Bibelot... Rebondi!<\/i>, <\/span>5'24<\/i>, <\/span>Eaux-<\/i>Fortes<\/i>, <\/span>Rainbow<\/i>, <\/span>La poterie punaise<\/i>, <\/span>Cocagne<\/i>, and <\/span>Attractions<\/i>. <\/span>In addition to her work as a choreographer, she is a skilled embroiderer, a resident of the forest, an apprentice in gardening, dry-stone wall building, and log splitting. She also devotes herself to writing and drawing.<\/span><\/p><\/div><\/div><\/div>

Jeanne Durouchoux<\/span> was introduced to contemporary dance and circus arts by her parents, who were choreographers. She trained at the Conservatoire National Sup\u00e9rieur de Musique et de Danse de Paris, where she experienced life in a young company with the Ensemble Chor\u00e9graphique. She thus explored the repertoire of various choreographers such as Andy de Groat, Benjamin Millepied, Trisha Brown, Emanuel Gat, and Philippe Decoufl\u00e9, enriching her experience. She will complete her Master's degree in dance performance, repertoire, and creation in 2021. Since graduating, she has met and worked with various artists, collectives, and choreographers such as Emmanuelle Vo-Dinh on her creations Waveparty and Attractions, as well as Amala Dianor, Mathilde Monnier, and Robert Cantarella. She is also participating in the collective creation of the artistic project <\/span>PANORAMA<\/em>, produced at the Th\u00e9\u00e2tre de la Cit\u00e9 Internationale in collaboration with the<\/span> MxM collective<\/em>. She will obtain her state diploma as a dance teacher in 2023 and is beginning the creation of a new choreographic piece with Jean-Yves Phuong, <\/span>Nouons-nous.<\/em><\/p><\/div>

After graduating from the Conservatoire National Sup\u00e9rieur de Paris, Cyril Geeroms<\/span> completed his training by joining the Conservatoire's Junior Ballet until May 2001. He began dancing with Karine Saporta, then with Mi\u00e9 Coquempot, Thomas Duch\u00e2telet, Panxika Telleria, Annick Charlot, Odile Duboc, Sylvain Groud, Lionel Hoche, Samuel Mathieu, Serge Ricci, Fran\u00e7oise Tartainville, and Gilles Baron. He currently works with Panxika Telleria.
With Emmanuelle Vo-Dinh, he participated in the creation of Sagen, D\u00e9compositions, CROIS\u00e9ES, Eaux-fortes, Fractale, -transire- & -insight-, Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, La for\u00eat de glace, Attractions, and Belles et bo\u00eetes.
Alongside his career as a performer, he became a Pilates instructor and trained in first aid.
<\/span><\/p>

After studying engineering, where Jean-Michel F\u00eate<\/span> discovered the \u201ctruthful lying\u201d of commercial negotiation, he decided to become an actor in order to have a more honest relationship with his audience. He then spent several years training with Jean P\u00e9rimony, Pascal Luneau, and Pascal Rambert, among others, who opened the doors to cinema and television for him. He has appeared in films by Laurent Bouhnik, Didier Lep\u00eacheur, Karim Dridi, Bertrand Blier, Claude Pinoteau, Alain Corneau, Nadine Trintignant, Alain Tasma, Antoine De Caunes, Christophe Lamotte, Abdel Kechiche, \u00c9ric Rochant, Tonie Marshall, Jean-Paul Rappeneau, Olivier Marchal, Mikael Hers, and others. In 2000, he crossed paths with Emmanuelle Vo-Dinh and Fran\u00e7ois Raffinot, who invited him to participate in their show Al Segno. He later collaborated on two other creations by F. Raffinot, and E. Vo-Dinh called on him again for her projects Double jeu<\/em> and Attractions<\/em>.

Com\u00e9dienne et chanteuse, Camille Kerdellant<\/span> participe \u00e0 la conception et interpr\u00e8te les mises en sc\u00e8ne de Rozenn Fournier avec qui elle fonde la compagnie KF Association en 1999. Leur derni\u00e8re cr\u00e9ation Ma Famille<\/em> de Carlos Liscano est en tourn\u00e9e en Europe depuis 2011.<\/span>
Com\u00e9dienne, elle travaille sous la direction de metteurs en sc\u00e8ne de th\u00e9\u00e2tre: P. Venin, M. Bernard, G. Le Guillou-Castel, L. Fonvielle, G. H\u00e9raut, G. Doucet, la Cie Udrolik, C. Gourmelon, S. Jacquemont, B. Gasnier, T. Beucher, B. Colin, B. Lotti, A Kowalczyck, R. Fournier,... Elle con\u00e7oit et interpr\u00e8te avec le pianiste Henri J\u00e9gou le spectacle Gris\u00e9lidis<\/em> ou la Passe Imaginaire<\/em> en tourn\u00e9e en France depuis 2010. Lectrice, elle con\u00e7oit et interpr\u00e8te de nombreuses lectures spectacles (po\u00e9sie et roman) en compagnie de musiciens (contrebassiste, claquettiste, pianiste, percussionniste\u2026) pour des festivals et \u00e9v\u00e8nements consacr\u00e9s \u00e0 la litt\u00e9rature. Avec Emmanuelle Vo-Dinh, elle participe \u00e0 la cr\u00e9ation de -transire- & -insight- Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, La for\u00eat de glace, Attractions <\/em>et Belles et bo\u00eetes.<\/em><\/span>
Elle enregistre r\u00e9guli\u00e8rement en studio des voix pour des documentaires audiovisuels, films d\u2019animation (JPL films, Vivement Lundi ...) et pour des doublages au cin\u00e9ma et en audiodescription.
Elle intervient \u00e9galement en direction de jeu aupr\u00e8s de la compagnie de cirque contemporain Le Ptit Cirk\u00a0: Hirizin, le\u00a0Carlon\u00e9on de Philippe Olivier,\u00a0le groupe de musique blues exp\u00e9rimental\u00a0: Dalva,\u00a0<\/span>le Stabat Mater Furiosa de Sim\u00e9on port\u00e9 par Sophie Hoareau et\u00a0participe \u00e0 l\u2019\u00e9criture du spectacle musical Clart\u00e9<\/em> de D. Monceau.
<\/span><\/p>

Born in West-Germany, Sabine Macher<\/span> is a dancer, writer, translater and photographer based in Paris, France. Her work is triggered by observation, description and synesthetic close up, as well as attracted to immanence and its forms. She conceives stage projects enhancing the minimal conditions of the performing arts : gathering at the same time in the same place for a limited duration in order to emit and receive what can be heard or seen.
As a dancer she has worked with a wide range of choreographers and theater directors such as Yoshiko Chuma, Georges Appaix, Laurent Pichaud, Eleonore Didier, Micka\u00ebl Ph\u00e9lippeau, Xavier Leroy, J\u00e9r\u00f4me Bel, Jo\u00e3o Dos Santos Martins, Ana Rita Teodoro, Teresa Silva, or Alain Fourneau, Robert Cantarella, Daniel Jeanneteau and Tino Sehgal. Since 2018, she has been an artistic colaborator to Emmanuelle Vo-Dinh\u2019s works such as Cocagne, Attractions<\/em>, ARCANES paysage<\/em>, Mirari and the upcoming HIGANBANA<\/em>.
Sabine Macher has published 13 books of her own and translated 5 books by Ceija Stojka, Kurt Schwitters, and Irinia Liebmann from german to french.<\/p>

After studying geology, Fran\u00e7oise Michel<\/span> trained in stage management at the National Theatre School of Strasbourg, which was then directed by Jean-Pierre Vincent. In 1980, she met Odile Duboc and was introduced to contemporary dance. This marked the beginning of a long collaboration in the design and realization of performances. Over the years, she has created lighting for Josette Ba\u00efz, Hideyuki Yano, Francine Lancelot, Mark Tompkins, Georges Appaix, Fran\u00e7ois Raffinot, the Dunes group, Daniel Larrieu, and many others. She has also remained involved in the theatrical world, working with Val\u00e8re Novarina, Fran\u00e7ois Chattot, H\u00e9l\u00e8ne Vincent, Lambert Wilson, Yoshi O\u00efda, and more. With Odile Duboc, her work on lighting led her to create the set design for several pieces (Tha\u00efs<\/i>, Le Pupille veut \u00eatre tuteur<\/i>...). Fran\u00e7oise Michel views light as a form of writing: \\\"Light does not come to complete something, it is at work at the same time as the choreography.\\\"<\/p>

David Monceau<\/span> is a composer who creates music for live performance and image projects. For Emmanuelle Vo-Dinh he wrote the music for White Light, Rainbow, Ad astra, -transire-, En-Joy<\/em> (un morceau de mon esprit), Tombouctou d\u00e9j\u00e0-vu, Belles et bois, Cocagne, Waveparty, Attractions, La for\u00eat de glace, Belles et bo\u00eetes, Arcanes paysage, Mirari, Orukami.<\/em> For Karine Ponties (Belgium), he created the music for Humus Vertebra, Mirliflor, Lamali Lokta, Luciola and Tyran(s). He has also written music for Stephano Ricci (Italy, animated films), Anna Abalikhina (Russia), Ivan Estegneev (Russia), Ayelen Parolin (Belgium), Pierre-Fran\u00e7ois Lebrun (documentaries), F\u00e9licette Chazerand, Yves No\u00ebl Genod, Peneloppe Parrau, KF Association and Le Th\u00e9\u00e2tre des Op\u00e9rations. He is also a dancer in a number of contemporary dance companies, notably Emmanuelle Vo-Dinh (since 2000), Herman Diephuis, Julie Des Prairies, Jean-Marc Heim, Pierre Cotreau and Geisha Fontaine, Christine Le Berre and Patrick Le Doar\u00e9. He is also the writer\/composer of Olyphant and also Henri Mezey with David Euverte.<\/p>

Trained as an architect, visual artist, videographer, and scenographer Laure Delamotte-Legrand<\/span> discovered the concept of \u201cGenius of Place\u201d during her studies, leaving her mark on her work with a keen interest in the question of context. Added to this is a sensitivity to contemporary dance, which she nurtured through a DEA (Master's degree) in Theater and Choreography at Paris VIII, focusing on movement analysis.
She explores questions of the body's presence in space: movement and gesture, both in her solo work as a visual artist and in collaborations with the contemporary dance community. She trained in video, an essential tool in what she wishes to express through gesture and presence.
<\/span>Her creations are hybrid in nature: objects, photographs, performances, and videos are brought together in installations or displays, which have been presented for the past fifteen years in art centers, choreographic centers, national theaters, and for local communities. These multiple media are complementary facets that help to convey a context, a sensitive atmosphere, or one or more encounters.
For the past fifteen years, she has collaborated with numerous choreographers: Julie Nioche, Emmanuelle Vo-Dinh, Thierry Thie\u00fb Niang, Pierre Droulers, Mustafa Kaplan, Donata Durso, Lisa Da Boit, Shifts art in movement, Margot Dorl\u00e9ans, and others. A selection of her videos was screened as part of Videodanse at Beaubourg in 2009. Between 2014 and 2021, she actively collaborated with Le Phare, Centre Chor\u00e9graphique National du Havre Normandie, directed by Emmanuelle Vo-Dinh. As part of the Pharenheit Festival, she presented the photographic series Lock Unlock<\/i> in 2015, the film Un, Nous<\/em> in collaboration with choreographer Thierry Thie\u00fb Niang in 2016, and Dolldrums<\/i> in 2018, a video installation consisting of four films, which was then presented at ICI Centre Chor\u00e9graphique de Montpellier and then at the Maison des M\u00e9tallos in Paris in 2019. She collaborated with Emmanuelle-Dinh on the videos for her piece La for\u00eat de Glace<\/i>. In parallel with her own creations, she has been making video recordings for contemporary dance for over ten years.
As a scenographer, she imagines spaces halfway between scenography and plastic art. She has worked with choreographers and directors such as Julie Nioche, Cie Akte, Margot Dorl\u00e9ans, L\u00e9a Dante, and Shifts art in movement. Since 1998, she has occasionally led workshops in plastic arts and scenography, in partnership with numerous cultural structures in the visual arts and performing arts.
From 2007 to 2013, she was an exhibition curator for contemporary art events (Les Dessous du patrimoine <\/i>and Rouen Impressionn\u00e9e<\/i> - City of Rouen) and artistic coordinator in 2011 for the Grande Veill\u00e9e<\/i> (Automne en Normandie festival).
Since 2011, she has been developing Vasterival<\/i>, a vast project focusing on the coastline, part of which was presented in 2019 at the MuMa, Andr\u00e9 Malraux Museum of Modern Art in Le Havre. She has been collaborating on this project since 2018 with CRAFT (Centre de Recherche sur les Arts du Feu et de la Terre, Limoges). Several residencies are currently underway at CRAFT in preparation for three events: an exhibition at the La Forme gallery in Le Havre (summer 2022), a major exhibition at the Galerie des Hospices in Limoges (April-May 2023), and R\u00e9v\u00e9lations at the Grand Palais in Paris (June 2023).
As part of the France-Portugal year, in partnership with the City of Rouen, the municipality of Aveiro, and the Institut Fran\u00e7ais, she is being hosted in a creative residency at the Vista Alegre porcelain factory near Aveiro (Portugal).<\/p>

Anette Lenz<\/span> is a graphic designer. Originally from Germany, she has chosen to live and work in Paris. Concerned with the question of public space in the broadest sense, she works with a variety of clients, including public cultural institutions, particularly in the performing arts (Pavillon-s, Le Phare National Choreographic Center of Le Havre Normandy \u2013 directed by Emmanuelle Vo-Dinh, the Centre Pompidou, the Palais de Tokyo, the Fondazione Bonotto, Herm\u00e8s, L'Onde \u2013 theater and art center, the Sc\u00e8ne nationale d'Angoul\u00eame, the Nouveau Relax Chaumont, La Filature, Sc\u00e8ne nationale de Mulhouse, and Th\u00e9\u00e2tre d\u2019Auxerre, the Mus\u00e9e des Arts d\u00e9coratifs in Paris and Bordeaux, the Ministry of Culture, the Senate, FRAC Bourgogne, Radio France, Arte, etc.). Anette Lenz sees graphic design as a powerful tool for poetic and political connection. Her internationally recognized work is regularly exhibited, such as at the Museum Angewandte Kunst in Frankfurt, Germany, with her solo exhibition A propos in 2020-21.
<\/i>She is a member of the Alliance Graphique Internationale and a professor of graphic design at HEAD in Geneva.<\/p>

Sascha Nordmeyer<\/span>, 46, is a Franco-German contemporary artist based in Reims. Initially a designer, he made a name for himself with the Communication Prosthesis project, which was exhibited at MoMA in New York in 2011.
Combining design technology and handcraftsmanship since 2016, he creates airy, transparent installations made of paper and metal that invite viewers to immerse themselves and develop an intimate relationship with the work. Fascinated by light, he installs movement, rhythm, and vibration in his spaces and times. Like a musician, he develops an artistic practice that puts people at the center while awakening their senses and emotions. Sascha Nordmeyer exhibits regularly throughout Europe and Japan. In France, he is represented by the Slotine Gallery in Paris.<\/p>


After studying art history, performing arts, and cultural policy in France and the United States, Solenne Racap\u00e9<\/span> worked for various cultural organizations and dance companies before joining the production office Le 26 in 2003. Since 2009, she has been working with choreographer Emmanuelle Vo-Dinh on both the staging of her productions and the development of all her activities. From 2012 to 2021, she co-directed Le Phare, Centre chor\u00e9graphique national du Havre Normandie, with Emmanuelle Vo-Dinh.
She was a member of the board of the Association des Centres Chor\u00e9graphiques Nationaux (Association of National Choreographic Centers) from November 2016 to October 2018, is a member of the dance advisory committee for the DRAC Normandie (Regional Directorate for Cultural Affairs), and teaches in the Master's program in cultural and creative industries at Neoma Business School in Rouen.
From January 2022 to March 2025, she is leading the Pavillon-s project with Emmanuelle Vo-Dinh, based in Rouen and And\u00e9. After three years devoted to developing the Pavillon-s project, Solenne Racap\u00e9 wanted to embark on new adventures.<\/p>

Antoine P\u00e9tin<\/span> joined Pavillon-s in April 2025 as production director, Camille Bono<\/span> as production and distribution manager for Emmanuelle Vo-Dinh's creations, and Capucine Baran\u00e8s<\/span> as production manager for WEI! Week-End int\u00e9gral.<\/p><\/div><\/div><\/div>\",\r\n \"align\": \"top\",\r\n \"row\": 2,\r\n \"col\": 0,\r\n \"colspan\": 12,\r\n \"offsetx\": 0,\r\n \"offsety\": 0,\r\n \"spaceabove\": 0,\r\n \"spacebelow\": 0,\r\n \"yvel\": 1,\r\n \"push\": 0,\r\n \"relid\": 6,\r\n \"frameOverflow\": \"\",\r\n \"absolute_position\": false\r\n }\r\n ]\r\n}","_links":{"self":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/264","targetHints":{"allow":["GET"]}}],"collection":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/comments?post=264"}],"version-history":[{"count":0,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/posts\/264\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media\/94"}],"wp:attachment":[{"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/media?parent=264"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/categories?post=264"},{"taxonomy":"post_tag","embeddable":true,"href":"http:\/\/pavillon-s.com\/en\/wp-json\/wp\/v2\/tags?post=264"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}