Born in Parma in 1974. He studied Gymnastics and Ballet. In 1997 graduated from EDDC- Arnhem (Holland). He studied, amongst others, with Steve Paxton, Eva Karkzag, Lisa Kraus, Benoît Lachambre. Worked as a dancer with: Peter Pleyer, Tony Thatcher, Charlotte Zerbey, Martin Butler, Mawson-Raffalt + Falulder – Mawson, Jennifer Lacey, Virgilio Sieni, Nigel Charnock, Karine Ponties. He performed in several International theatres and Festivals as a dancer and as a choreographer: Ps122 (New York), Festival Sesc (S.Paulo), Fabbrica Europa (Firenze), Teatro Comunale di Ferrara, Festival Grec (Barcelona), Torino Danza, RomaEuropa Festival, DancEUnion-Southbank Centre (Londra)… He founded his dance company Stalk in 2002. His most recent works: àrebours100, Tiqqun, Pietro, In a Landscape, Only You, Andless. His last project Something About Today (The Vicious Circle) with the Solo AnnotTazioni has premiered at Teatro Comunale di Ferrara (Italy) in December 2010 and it is now on tour. In 2012, he collaborates again with Benoît Lachambre to the creation of Snakeskins (a fake solo). www.compagniastalker.com
Alexandra Bertaut is an explorer. She uses the body as subject, not pretext. Here is nothing less than the human body/nature. This stage-managing of the self which is inherent in one’s clothing. Defining – and shaping spaces, identities, individualities. Multifaceted – the social being. Living organisms. Alexandra began with art studies, fashion and design. She then continues her research with, among others, Carlotta & Caterina Sagna, Edmond Russo et Shlomi Tuizer, Frank Micheletti, Fabrice Lambert, Maud Le Pladec, Herman Diephuis, Thomas Quillardet, Richard Siegal, Su-Feh Lee & Benoît Lachambre. In 2012, she designes Snakeskins (a fake solo)‘s costumes for Par B.L.eux.
MÁRCIO KERBER CANABARRO is a dancer/performer/maker with B.A. in social Communication (UNIJUI – RS – BR) and a Performing Major (SEAD -Salzburg-AT). He has worked with artists as Keith Hennessy, Adrien Hod (Hodworks), Peter Pleyer and Meg Stuart. In 2016 in collaboration with Csaba Mólnar, received the Lában Prize award in Hungary for “TROPICAL ESCAPE”. In 2017 together with Mólnar was nominated with “Eye Candy” for Best International performance by the Critics Award in Denmark. Canabarro and Mólnar keep on creating together and in early 2018 premiered “DEEPER”; a collaboration with Tamara Zsófia Vadas and Imre Vass, Coproduced by Trafó House of Contemporary Arts Budapest.
Sophie Corriveau works in the field of contemporary dance as a dancer, choreographer, teacher, rehearsal director and artistic consultant. After graduating from the École supérieure de danse du Québec, she began her career at the Theatre Ballet of Canada, and continued with Montréal-Danse from 1989 to 1993. Since 1993, as an independent dancer, she has worked with several choreographers, including Louise Bédard, Virginie Brunelle, Danièle Desnoyers, Sylvain Émard, Alain Francoeur, Jean-Sébastien Lourdais, Manon Oligny, Raphaëlle Perreault, Manuel Roque and Catherine Tardif.
During the fall of 2011, Sophie Corriveau ventured into choreography with Jusqu’au silence, a solo performed at Agora de la danse in collaboration with her brother, visual artist Thomas Corriveau. In 2014, she co-created 6’3 évanouissements under the aegis of the dance troupe Et Marianne et Simon. From 2014 to 2016, she was the dancer-in-residence at Agora de la danse. This residency culminated in Nous ne sommes pas tous des danseurs, an atypical project involving “danced roundtables,” jointly conceived by Katya Montaignac, which brought together 17 dancers in an exploration of issues related to the profession and art of the dancer.
Sophie Corriveau is also the rehearsal director for the dance companies Daniel Léveillé Danse and Le Carré des Lombes, and teaches at the École de danse contemporaine de Montréal.
Originates from Italy, Christine Rose Divito is an independent photographer who specializes in contemporary dance and art documentary. In the 1990s, she was awarded first prize for her acting by the national conservatory in Brussels, and started a career in theatre (with, among others, the Théâtre de Poche in Brussels) and later branched out to music, founding a rock group called Marthajane. Christine has worked as dancer, teacher and photographer for the company Damaged Goods (Meg Stuart) and Par B.L.eux (Benoît Lachambre) with whom she has also co-staged a duo at the Quartz (Brest). As she has been ‘official photographer,’ covering a number of dance festivals, such as the politics of ecstasy at the Hau, Berlin, and Jared Gradinger’s edition of the Grandes Traversées in Royan and in Bordeaux.
Christine’s photography has been published in a number of journals, and her work has graced magazine covers. In the past few years, she has had exhibits at the Barcelona Museum of Contemporary Art and the Carhart Shop (France) in 2009, at the Fremantle Art Center in Australia, La Fourmi (Paris, France), the Archive (New York, USA) and the Maison du Peuple (Belgium) in 2010, as well as at WE are different (Belgium) in 2011. In 2012, she participates to the creation of Snakeskins (a fake solo).
A maverick creator who studied music at the Paris Conservatory and dance at the École de danse contemporaine de Montréal, Clara Furey is fascinated by the blending of forms, languages and codes that make up a living work. Ever since 2011, she has dedicated herself to choreographic creation and the performing arts. She started her career as a performer for several choreographers, including George Stamos, Damien Jalet and Benoît Lachambre, who whad an important impact on her artistic process. The latter brought her to consider dance in all forms of movement, all breath, and all action of the body. Over the last few years, Clara Furey has been developing a process to materialize abstract emotions. As well, she has been developing works that are based on the hyper-awakening of sense perception.
Her process is profoundly trans-disciplinary, approaching choreographic creation as a crossroads between dance, music and performance. In 2011, she co-creates with the actress, Céline Bonnier, Hello… How Are You?. In 2012, she collaborated with Benoît Lachambre as a performer and musical director in the work Chutes Incandescentes; followed by Ciguë, co-created in 2014 with the French choreographer, Eric Arnal Burtshy, and Night Will Come, co-created with Michikazu Matsune at the Ethnological Museum of Vienna. Then in 2015, came Untied Tales (The vanished power of the usual reign) co-created with Peter Jasko.
In 2016, Clara Furey took on the challenge of artistic direction and group choreographic creation with the project Cosmic Love. Furthermore, Montreal’s Museum of Contemporary Art invited her to create a cycle of 90 solo performances titled When Even The in the context of a large-scale exhibition, which is a tribute to Leonard Cohen: A Crack In Everything. She is an associate artist at Par B.L. eux.
Lighting artist Yves Godin has been working since the early 90s with a host of choreographers (including Hervé Robbe, Georges Appaix, Fattoumi & Lamoureux), covering a broad range of aesthetic experimentation. Later, he worked with different musicians, visual artists and choreographers, notably Alain Michard, Kasper Toeplitz, Rachid Ouramdane, Julie Nioche, Emmanuelle Huynh, Boris Charmatz, Claude Wampler, Christian Sébille, Maria Donata d’Urso, Jennifer Lacey, Nadia Lauro, Alain Buffard, and Vincent Dupont. His approach starts with the idea that the lighting is not dependent on the dance, the music or the text, but can resonate with other elements of the staging of the work, around two main axes: the perception of space and time, and the development of connections into networks, more or less in harmony with other qualities (body, sound, thought, time). He currently works mainly with Vincent Dupont, Boris Charmatz, Olivia Grandville, Pierre Droulers and Michel Schweitzer.
Yves Godin designed the lighting for the “Legend” exhibit at the Domaine de Chamarande (2008), the opening of the LiFE (St Nazaire, 2008) with “Life light,” as well as the happening étrangler le temps (pre-opening of the Musée de la danse, Le Garage-Rennes, April 2009) with the lighting installation “Fiat Lux pour un garage Volkswagen.” He was also part of the expo zero of the Musée de la danse au LiFE (St Nazaire, 2009). Since 2008, with “Point d’orgue,” a work with 1,000 candles, he invites performers to appropriate the installation for themselves, a principle that he has developed in such other works as “Opéra Ampérique,” and “Jardin des Leds.” In 2012, he collaborates with Benoît Lachambre to the cration of Snakeskins (a fake solo), as lightning designer and scenographer.
Hanna Hedman studied at the Royal Swedish Ballet School in Stockholm. Since 1996 she lives in France. She has been working as a dancer, performer and/or assistant with various artists such as Alain Buffard, Nature Theater of Oklahoma, Fabrice Lambert, François Verret, Isabelle Schad, Boris Charmatz, Philippe Blanchard, Olga de Soto and many others. With Benoît Lachambre they co-created a solo Enat et le jardin des icones that she performed at the Avignon Festival in 2002. Since she has been participating in several of his productions as a performer or assistant. As a choreographer she made the piece California Roll in collaboration with Isabelle Schad and good work productions. The work premiered in the festival Tanz im August in Berlin and has toured internationally. In parallel she is completing her second year in the somatic mouvement educator program at the Body Mind Centering education in Paris.
Before becoming a technical director, before his work in scenography, Romain de Lagarde was first a lighting designer. He has a DMA degree in theatre arts, with a concentration in lighting, and graduated from the École Nationale Supérieure des Arts et Techniques du Théâtre (ENSATT) in Lyon, France (2009). He has worked with such lighting designers as Daniel Levy, Yukiko Yoshimoto and most recently Joël Hourbeigt and Maryse Gautier. He helped create a number of theatre and dance projects, and he oversees lighting and technical crew for Fabrice Ramalingom’s dance company, R.A.M.a. He was part of the work D’un goût exquis. He is currently collaborating with the Québec company Par B.L.eux on the creation of Hyperterrestres, which brings together Fabrice Ramalingom, Benoît Lachambre and composer Hahn Rowe.
Born in Montreal, Louise Lecavalier joined La La La Human Steps in 1981 in Oranges and went on to perform in every one of the company’s productions until Salt in 1999. The company’s symbol and luminary for nearly two decades, giving her heart and soul to her art, Louise embodied dance on the outer edge with passion and unrestrained generosity, dazzling audiences everywhere. In May 1999, she received the Jean A. Chalmers National Award, and in February 2003, she received a Career Grant from the Conseil des arts et des lettres du Québec. In December 2008, Louise Lecavalier was appointed Officer of the Order of Canada, the country’s highest honour. In June, 2011, she was named “Dance Personality of the Year 2010-2011” by the French Critics’ Union, in Paris. In November 2011, she became the very first winner of the Prix de la danse de Montréal. She mounts creation projects both as an independent dancer and for her production company, Fou glorieux, a flexible working structure founded in 2006. In 2006, she co-signs «I» is a memory with Benoît Lachambre, then Is you Me en 2008 which wil have a great succes. www.louiselecavalier.com
Su-Feh Lee is a choreographer, dancer and dramaturge. Born and raised in Malaysia, she started performing in the National Children’s Theatre (1980-82) where she was introduced to a range of practices, from traditional South-East Asian performance forms to more contemporary and experimental techniques and ideas. In 1985 she moved to Paris to study contemporary dance. Since 1987 she has trained extensively in Chinese martial arts with an emphasis on the internal systems and presently studies Baguazhang.
Since arriving in Vancouver in 1988, she has created a body of work that interrogates the contemporary body as a site of intersecting and displaced histories and habits. In 1995, she co-founded battery opera performance, (“fearlessly iconoclastic”, “brainy and bawdy”) with writer/performer David McIntosh. She has worked both alone and in collaboration with other artists, most notably, with David McIntosh, DD Kugler, Steven Hill and Benoît Lachambre. Her recent works, Jung-Ah and Su-Feh and Everything are collaborations with BC artists, respectively Victoria-based dance-artist Jung-Ah Chung and Vancouver electro-acoustic composer Barry Truax. Most recently, Sweet Gyre, her second collaboration with Benoît Lachambre and Juno-award winning composer Jesse Zubot, premiered February 2013 in Vancouver, BC at the Dance Centre. www.batteryopera.com
Originally from France, Laurent Maslé has been living in Montréal since 1987. For the last 15 years, he has been an active player in the contemporary dance community, creating music and sound environments for more than thirty works for a host of choreographers, including Dominique Porte, José Navas and Emmanuel Jouthe. In 1997, he began a close collaboration with Benoît Lachambre, creating the sound environments for such works as Lugares Comunes, 100 Rencontres, Not to Know and Confort et Complaisance. Laurent Maslé also collaborates on installations, art films and documentaries.
Dancer, choreographer, teacher, artistic consultant, trained at the National Center of Contemporary Dance in Angers,Fabrice Ramalingom began his career at the National Choreographic Center of Montpellier where he had worked with Dominique Bagouet and Trisha Brown. In 1993, he created the company Camionetta with Hélène Cathala,and in 2002 became artistic director of an alternative space of production and creation with five other artists named Changement de Propriétaire. In 2006 he founded his own company R.a.m.a. and then signed 8 choreographies which are all pretexts/spaces where he loves to convene paradoxes such as humans and animals,community and individuality,presence and absence. From 2010 to 2011, Fabrice is the first associate artist to the Agora, International City of Dance in Montpellier. Then from 2012 to 2014 he is associate to the Choreographic Development Center in Uzès. Fabrice continues to be a dancer for Anne Collod and collaborate with Benoît Lachambre for Hyperterrestres (working title). http://www.rama.asso.fr/
This Korean-American composer, producer and multi-instrumentalist has been working for twenty years on the frontier between rock, electronic music, improvisation and new music. Hahn Rowe has performed and recorded with such artists as Hugo Largo, David Byrne, Antony and the Johnsons, Hassan Hakmoun, Glenn Branca, Moby, Swans, Foetus, and R.E.M. His work between Brussels and Berlin with choreographer Meg Stuart and her company Damaged Goods led to the compositions Disfigure Study, No Longer Readymade and Swallow My Yellow Smile. He was part of four editions of Crash Landing. He composed and performed live the score for FORGERIES, LOVE AND OTHER MATTERS and he wrote the scores for REPLACEMENT and BLESSED. Hahn Rowe has also composed for film and television, notably for Clean, Shaven (directed by Lodge Kerrigan), Spring Forward (directed by Tom Gilroy), and Married in America (directed by Michael Apted). In 2008, Hahn Rowe collaborated with Benoît Lachambre and Louise Lecavalier for the creation of Is You Me. In 2012, he works again with Benoît Lachambre to create Snakeskins (a fake solo). In March 2013, they collaborate once more in the framework of High heels too, a commissioned work from Cullberg Ballet (Sweden).
Meg STUART is a choreographer and dancer living and working in Brussels and Berlin. She received her BFA in dance at New York University and continued her training following classes in Release technique and Contact Improvisation at the dance laboratory Movement Research (New York). In the 1980s Stuart worked as a dancer with Nina Martin, Lisa Kraus, Federico Restrepo and Marcus Stern, and from 1986 to 1992 she was a member of the Randy Warshaw Dance Company, where she was also assistant to the choreographer. On the invitation of the Klapstuk festival in Leuven, she created her first evening-length piece Disfigure Study, which launched her choreographic career in Europe. Stuart founded her own company Damaged Goods in 1994 and made Brussels her artistic home. She collaborated with many artists, including Pierre Coulibeuf, Philipp Gehmacher, Ann Hamilton, Gary Hill, Benoît Lachambre, Jorge León and Hahn Rowe. With Damaged Goods, Stuart has created over twenty productions, ranging from solos to large-scale choreographies and including site-specific creations and installations. Over the years she has initiated and taken part in several improvisation projects. Her work has travelled a wide international theatre circuit and has also been presented at Documenta X (1997) in Kassel and at Manifesta7 (2008) in Bolzano. Stuart also teaches workshops in a variety of contexts. In 2008 her body of work was honored with a Bessie Award and a Flemish Culture Prize. In 2012 she is awarded the German Konrad-Wolf-Preis. In 2004 Forgeries, love and other matters, the performance she co-signed with Benoît Lachambre and the musician Hahn Rowe was a succes ; they awarded the prestigious Bessie Award in 2006 for this performance. www.damagedgoods.be
Nancy Tobin is a sound artist and designer for performing arts. For the last twenty years, she has developed an approach characterized by the use of unusual speakers, which transform the sound quality of her creations. Through several collaborations with Denis Marleau (UBU compagnie de création), she has primarily focused her research on a vocal amplification method designed for the theatre.
In 2001, she is nominated for the Masque – Contribution Spéciale (Special Contribution Theatre Award) and in 2004 for the Masque – Conception Sonore (Sound Design Theatre Award) (Novecento and Le procès, directed by François Girard). She is supported by the Canada Council for the Arts and the Conseil des Arts et des Lettres du Québec.
Her creations for stage directors and choreographers have been presented at several festivals in Canada and Europe, including the Festival Transamériques, the World Stage Festival, the Festival d’Avignon and the Edinburgh International Festival. She has collaborated with choreographer Danièle Desnoyers / compagnie Le Carré des Lombes since 1999 and created the sound design for Concerto grosso pour corps et surface métallique presented at the well-known Music Biennale Zagreb in 2003 and Duo pour corps et instruments. More recently, her work Expire travelled to Taiwan as part of the 4th International Theatre Soundscore and Music Composition Exhibit of the World Stage Design 2017 in Taipei.
As a speaker since 2004, Nancy has promoted her work in North America and Europe, namely at the 2016 United States Institute for Theatre Technology Conference (USITT): “Sound Art+Design” and at the 2007 Quadrennial in Prague for the “Distorted Sound Design” presentation.
Nancy has also been teaching a Sound Design course at the UQAM École Supérieure de Théâtre since 2011, and regularly supervises students at the National Theatre School. In 2016, she was awarded the Teaching Excellence Award from the UQAM Arts Faculty.
Issue d’une formation en gestion et technique de scène au Collège Lionel-Groulx, Samuel Thériault œuvre professionnellement dans le milieu du spectacle et d’évènements corporatifs depuis plus de 15 ans Il concentre son travail sur la direction technique, la vidéo et la sonorisation. Il a depuis dirigé, en tant que directeur technique, des productions diverses qui ont tournées autant sur la scène locale, qu’à l’international.