P.A.R.T.S school Belgium, May 2017

Forsythe repertoire atelier on the piece “Sider”

Going through the process of creation of the stage work ”SIDER” made in 2011 by William Forsythe and the dancers of The Forsythe Company, the P.A.R.T.S. students re create their own version and material utilising the various modalities that this work offers, such as the conception of personalised maps, audio coordinative rhythmic orchestration, unsustainable, precarious and multiple types of locomotion made in relationship to giant cardboards leading to counter-pointed group orientation and basic improvisation technologies…

The rhythmical inflections of Elizabethan theater, like those of classical dance, have been sustained by a tradition of transmission from performer to performer for over 400 years. In Sider, these intricate patterns of speech are communicated to the performers via the soundtrack of a filmed version of a late 15th century tragedy. The adherence of the performers' actions to this vocal score instigates disquieting configurations of incongruous musicality that underscore the drama's themes of analogy and obscuration.


ChoreoLab March 2017- Basel

In, Out and Through.... A proposition.

This Atelier focused mainly on the notion of exchange and of collaboration. Departing from personal and individual propositions, used as a base for interaction and discussion, we than established out of those divers propositions a collective one and eventually later on return to an individual personal one. What informs what, what belongs to whom, is there such a thing as copyright and how one can, through and with the others, challenge and further develop his own creative practice and discover other ways to approach what interests him/her collaboratively.

Cie. Greffe January 2016- Geneva

What you do when you do what you do.

Basé sur la relation que l’on a en tant que danseur, entre notre conscience d’un movement que l’on produit quand on fait ce que l’on fait et et du choix existant simultané d’en faire autre chose. Un travail sur les habitudes et les styles qui peuvent parfois nous cloitre dans quelque chose de réducteur tout en y puisant des informations précieuses et valables, en les utilisants consciemment pour nous guider vers de nouveaux horizons créatifs et un language ou une gestuelle qui nous est propre.

Apprendre a comprendre ce que l’on fait et pouvoir le partager avec les autres pour approfondir notre conscience de ce que l’on fait quand on fait ce que l’on fait et de pouvoir ensemble avec nos collègues élaboré un language commun et personnel a la fois.

Partant d’un échauffement mélangeant différentes techniques corporelle exerçant la notion de direction et d’opposition, le stage sera basé par la suite sur l’improvisation et la composition.

Zero point Festival July 2015 — Prague


The workshop satellite around the topics and modalities that are utilised in our piece Eifo Efi, such as counter pointed coordinations, multi tasking, juxtaposition, spatial awareness, memory, correlation between thought and movement, enabling skilful, playful and spontaneous physical and verbal outcomes.

Kyoto Performing art center 2014 - Japan

with Roberta Mosca and May Zarhy

The work is articulated through the discovery of structures and physicality that could come from languages and places of dance, theatre, music and visiual arts... These structures and physicality provide elements of production and definition.

By focusing on the emerging qualities of the present moment, the elements are combined and recombined, contexts and contents are changing in a continuous process of transformation.

Paths and routes will emerge revealing and forming new maps of orientation.

Point of view and possibities of becoming amplify.

In this creative atmosphere we will propose to students different ways and exemples to make structures and accompany them to bring them to life through a process where they will be able to choose to engage in a place where they can create Poetic practices.

How to try out things within collaboration, how to support collectively the delivery of an initial idea, thought, image!

How to open up possibilities for bringing materials which stem from the same source but have many different infinite forms?

Dialectic practice, exchange, dialogue...


the importance of physical practice, how to watch things, learn to observe, different ways of seeing and observing something, how to analyze and research further.

How to revert into an observer trying to push the "refresh" button in your system in order to imagine what it would be like to simply watch the material as if you didn't know its background.

Take decisions and create together new forms of being, dancing, experiencing, sharing ...