Collaborators

Collaborators

Biographies

Paolo Atzori
Florence Augendre
Marion Ballester
Pascal Chabot
Aurélien Chouzenoux
Dominique Duszynski
Jarek Frankowski
Anne Guilleray
Pascale Gigon
Greta Goiris
Christian Halkin
Patric Jean
Mathias Jung
Alain Lagarde
Sergine Laloux
Xavier Lauwers
Marc Lhommel
François Paris
Sabine Theunissen
Todor Todoroff
Fred Vaillant
Wim Vermeylen
Aliocha Van der Avoort
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Paolo Atzori
Multimedia artist
He studied architecture in Venice and Rome, audio-visual media in Cologne and was a practicing architect in Vienna. He has sailed in numerous international sailing regattas, including two crossings of the Atlantic Ocean. He was also engaged as artistic and scientific collaborator at the Academy of Media Arts in Cologne, developing specific researches in the field of Digital Scenography.
In Italy he produced and curated the exhibition ArtEl and was a collaborator in the "Progetto Civitella" with the Institute for Network Studies designing in 1994 the internet public station "Net-Hyper-Booth". Curator of Fabbrica Europa 1997-1998, Florence, and Golem Videofestival 1998-1999 in Turin. He is currently artistic director of InterScena.

He is the founder of several (media) cultural associations: "Living the Present" in Cologne, "InterScena" in Lucca and "Anomos" in Paris.
He also published various articles when as a media reporter for Virtual and CTHEORY.
He wrote a book on Electronic Media in Italy and gave international lectures and workshops on this subject.

He worked in the multi-media aspects of several theater and dance performances including: Belsazar, Le Avventure del Sig. Quixana, Ex Machina, Full Play, Moving Target, Memos-Pandora Librante, Orestea Nuda, Orfeo, Red Shoes.

He has collaborated with various contemporary artists such as: Martin Butler, Roberto Castello, Diller+Scofidio, Wolfgang Ernst, Frédéric Flamand, Ulrike Gabriel, Ingo Günther, Peter Kiefer, Knowbotic Research, Thomas Kutschker, Angela Melitopoulos, Anthony Moore, Michèle Noiret, Giardini Pensili, Fabrizio Plessi, Stuart Rosenberg, Virgilio Sieni, Todor Todoroff.

Site : www.khm.de/~Paolo

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Florence Augendre
Assistant

Florence Augendre (1973) is a choreographic artist, dancer, actress and author who has been engaged and  has developped her work as much in the fields of theater, cinema, as in those of fine-arts and contemporary dance. In 1993, she moved to Belgium in order to work and perform with Ultima Vez/ Wim Vandekeybus. Since then, she collaborated with various artists, among them, we can name the theater directors Louis and Xavier Bachelot, author David Rosenberg, choreographers Pascale Houbin, François Raffinot, Christophe Haleb, Meg Stuart, David Hernandez, Labor GRAS, Label Cedana, Johanne Saunier/Jim Clayburg, Lance Gries. The last five years, she has been collaborating with Olga De Soto, Fabrice Ramalingom, and Koen Augustijnen (Les Ballets C de la B). Aside, she has been developing a research on how the knowledge of Anatomy and Physiology can be applied to physical movement in order to regenerate the body-mind into specific training, but also, how this method can re-activate creative process.
In that way, she has been experimenting with and coaching other performers, dancers, actors, singers/musicians, and some choreographers such as Félicette Chazerand (Spirale, Solo 55) and Anne Teresa de Keersmaeker (En Atendant). Hors-champ is her first collaboration with the Company Michèle Noiret.

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Marion Ballester
Choreographic assistant

 

After graduating from CNDC in Angers (1987-1989), Marion Ballester has developed parallel careers as choreographer, dancer and teacher. She started her dancing career in 1989 with Dominique Petit, also working with Philippe Decouflé in the same year. She joined Rosas as a dancer in 1992, before moving to New York in 1998 to study at the studio of Trisha Brown.

Marion went on to develop her own choreographic studies, founding her own company, AOXOA, and writing her own work: Blue Mathematics, Unconscious Landscape (both 2000), a project encompassing dance, sculpture and video for 4 dancers, inspired and in collaboration with Louise Bourgeois, Intimez-moi (2001), Bord à Bord (2002) and Neptune (2004), a piece for five dancers to the music of Philippe Manoury, written for the Festival des Antipodes in Brest.

Marion assisted Anne Teresa de Keersmaeker on the writing of Once in 2002 and collaborated with the Flemish choreographer again, this time along with Salva Sanchis, on Desh, a piece for three. In 2005 she choreographed Huit for Compagnie Frédéric Flamand/ Charleroi danse. She then met the choreographers Dominique Jegou and Stéphanie Aubin.

The company’s final work is a triptych in which Marion Ballester commissioned three choreographers – Osman Khelili, Benoît Lachambre and Odile Duboc – to write in collaboration. Three solos for Marion were presented together for the first time at the Festival des Antipodes in 2008.

Meanwhile, Marion Ballester continues to deepen her knowledge and teaches at various schools and professional dance companies.

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Aurélien Chouzenoux
Sound director

 

Aurélien Chouzenoux is sound director (Cie Michèle Noiret / Rodrigo Garcia) and compositor for various record labels (Expressillon in Paris, Kompakt in Cologne) and stage productions (Cie Jours Tranquilles, Lausanne, Clinic Orgasm Society, Brussels, artistic and technical collaborations in West Africa). Aurélien is an INSAS graduate who has also created audiovisual installations (Aristoklas, Kunstfestivaldesarts/LaVillette).



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Dominique Duszynski
Choreographic assistant

 

After ten years at Tanztheater Wuppertal Pina Bausch, where she danced in such mythical productions as Frühlingsopfer, Kontakhof, Die sieben Todsünden, Viktor, Arien and many more, Dominique Duszynski continued her work of investigation and experimentation in teaching, but also through choreography for dancers and actors, in symbiosis with directors or alone. In her career she has also performed for JF Duroure and Pippo Delbono. She played in Pina Bausch’s Die Klage Der Kaiserin and in Amos Gitai’s movies Berlin-Jerusalem and Golem.

Since 1988 she has taught contemporary dance and the basic principles of Tanztheater in much of Europe and on a number of occasions in North America. She has taught at PARTS (Brussels) since the school opened in 1995.

In 2007 she returned to the boards with her own solo Fuga. In 2008 she collaborated with E. Sammarco and J. Varengo on Barroco. In 2009 she choreographed and performed a new solo Luz, written for the 9th Festival Voix de Femmes in Belgium.

She is choreographic assistant.

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Pascale Gigon
Choreography assistant

 

Pascale Gigon was born in Porrentruy (Switzerland) in 1964. She left Switzerland in 1984 to come in Belgium and follow training in contemporary dance as a self-taught. Since 1985, she has worked as a dancer-performer with Michèle Swennen, Alain Populaire, Louis Ziegler, Yolande Snaith, Michèle-Anne De Mey, Thierry de Mey, Dirk Opstaele, Olga de Soto and Thomas Hauert. In 1991, she gave birth to her son Jules.

She collaborates in the projects of Cirque des Sons (Baudouin de Jaer) and improvised performances (Pascale Gille). From 2001 to 2005, she worked with the Company Rosas as an assistant and as rehearsal director. She joins the Company as choreographical assistant of Michèle Noiret in 2006 on the performances Chambre blanche and Les Arpenteurs.

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Greta Goiris

Costumes

 

After her studies at the Academy of Fine Arts in Antwerp and at the Theater Institute of Barcelona, Greta Goiris worked with theater director Jacques Delculvellerie, first at the Festival of Avignon for Rwanda 1994 and Anathème, then from 1993-2005 at Théatre National in Brussels and Théâtre de la Place in Liège on La Grande Imprécation devant les murs de la ville by Tankred Dorst, The Mother by Brecht, Racine’s Andromaque, Beaumarchais’ The Barber of Seville and The Seagull by Chekhov.  She has worked in close collaboration with theater director Johan Simons (as part of the theater company ZT Hollandia and then with NT Gent) for whom she designed the costumes for several pieces such as The Leeane Trilogy by Martin McDonagh (2001), Vrijdag by Hugo Claus  (2003), Richard III (2004), Orestia (2006) and Instinct (2007). At the Ruhr Triennial, and still with Johan Simons, she created the costumes for Sentimenti (2003), Das Leben ein Traum by Calderón de la Barca (2006) and Die Vergessene Strasse by Louis Paul Boon (2008). In 2002 she presented Hannibal - after Grabbe - at the Staatstheater of Stuttgart and De Bacchanten d’Euripide at the KunstenFestivaldesArts in Brussels. In 2008, in Amsterdam, she designed the costumes for Naar Damascus, by Strindberg, in a staging by Pierre Audi.
In 2009, in Cologne, she created the costumes for Shakespeare’s, staged by Karin Beier.  This year she created the costume designs for the Müncher Kammerspiele for Ludwig II by Visconti, staged by Ivo van Hove, Agatha by Marguerite Duras, staged by Julie Van Den Berghe and Die Perser de Aischylos staged by Johan Simons. She also created the costumes, at the KVS in Brussels, for DeGehangen by Josse De Pauw and Jan Kuijken. For the opera, she designed the costumes for Herzog Blaubarts Burg by Bartók, which was presented at the Salzburg Festival, as well as Beethoven’s Fidelio for the Opéra National de Paris in 2008.  For William Kentridge she created the costumes for The Enchanted Flute (2005) at the Théâtre National de La Monnaie in Brussels as well as for The Nose (2010) at the Metropolitan Opera in New York.
In 2012 Greta Goiris created the costumes for Macbeth, staged by Johan Simons (Toneelgroep, Amsterdam), for Refusal of Time (Documenta/Kassel), and for Refuse the Hour (Holland Festival) by William Kentridge and for de Boot en Berg with Josse De Pauw and Peter Vermeersch (LODImuziektheater/deSingel Antwerp).

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Jarek Frankowski
Sound engineer

Jarek Frankowski was born in Poland in 1958. His interest for electronics and the world of sound was manifested early on when, at the age of six, in order to hear the censored Radio Free Europe, he built his first miniature radio inside a plastic aspirin box. At nine, he built his first tape recorder and his first loudspeakers. It was around the same time that he discovered a passion for music, and Bach in particular, whose work inspired him to start his musical education. In parallel, following his father’s footsteps he went on to study  architecture for four years at the Polytechnic of Gdansk.

In 1981, he left his country to start a new life in Belgium, where he resumed the study of music at the Brussels Royal Conservatory under professor Arie Von Lysebeth, graduating in 1992 with the highest honours. He then began to perform regularly in music festivals across Europe mainly as a chamber musician and occasionally as a solo guitarist.

In the meantime he never ceased to pursue his great passion for audio electronics and architectural acoustics, developing several devices in the audio professional field, some of which were to play a part in the recording of various albums. In 1996, one of his portable mixers-amplifiers for acoustic instruments was showcased at the Messe Frankfurt.

He progressively directed his efforts towards merging architecture, electronics, and music in a two-fold approach: the recording of music in acoustic environments and  projecting live and electronic music in venues while contributing his best artistic and technical expertise to both fields.

Jarek collaborated with music ensembles such as Ictus, Ensemble Musique Nouvelles, Ensemble Lucilin, The Danel Quator, The Quadro Quartet as well as with numerous soloists. He contributed with discographic and stage productions in the contemporary music scene for composers such as Fausto Romitelli, Georges Aperghis, Jean-Luc Fafchamps, Luca Francesconi, Jonathan Harvey, Keiko Harada, Steve Reich, Oehring, Thierry De Mey, Magnus Lindberg, Philipe Libois, Frédéric Devreese, Brice Poset, Walter Hus…

He also recorded and produced jazz albums with artists and bands such as Philip Catherine, Duo Rassinfosse-Collard-Neven, AKA Moon, Quartet sans Leader (Rassinfosse/Collard-Neven/Alleman/Desandre-Navarre), Fanny Bériaux, Soledad, André Klenes, Jacques Stotzem, Shlomit, Mandy Gaines…

In the field of classical music, he has worked with numerous artists and record labels such as: Natalia Prischepenko, Plamena Mangova, Quatuor Danel, l’Orchestre de Chambre de Wallonie, Didier Poskin, Soledad, Marc Grauwels, Astoria, Trio Ven Neste, Sergio Tiempo, Karin Lechner, Pascal Meyer, Xenia Pestova , James Kline, Peter Cornet, Frédérick Haas… /  EMI-Virgin Classics, Universal, Fuga Libera, Naxos, Cyprès, Avanti Classic, Megadisc, Pavane Records, René Gailly, Paraty, Calliope, Sub Rosa and many others.

As a composer, sound designer and sound engineer, he dedicates a significant part of his work to collaborations with choreographers such as Frédéric Flamand, Anne-Teresa de Keersmaker, Vincent Dunoyer, Nicole Mossoux/Patrick Bonté and more recently with Michèle Noiret.

He has mixed and frequently also recorded the soundtracks for films by Marleen Gorris, Harry Cleven, Jaco Van Dormael, Yves Hanchar,Yvan Le Moine, Vincent Lanno, Martine Doyen, Luc Bourgois, Marian Handwerker

He composed the instrumental music for several albums by Ten Strings Group, Jean-Paul Albert and for the jazz album of Fanny Bériaux. He composed the original soundtrack for « Signes de Vie » by Arnaud Demunynck, and then a few tracks for the film « Avec le Temps » by Marian Handwerker.

After « Sound Design » and a few compositions for the dance performance « Silent Collisions » by Fréderic Flamand, he created part of the music for Michèle Noiret’s DEMAIN. He also creates a part of the sound universe of Minutes opportunes.

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Anne Guilleray
Scenography and costumes

Anne Guilleray is a graduate of the École Nationale Supérieure des Arts Visuels, La Cambre in Brussels, alternating between stage design and costume design. Moving from one dimension to the other, she draws inspiration from new ideas and develops a range of collaborations in the artistic environment. For several years she has collaborated with the directors P. Pizzuti, L. Wanson and J. Douieb, with whom she has initiated several research projects. In her stage work she sees the object as a partner of the performer, while developing a light and poetic universe, leaving a lot of room for the audience’s imagination. Minutes opportunes is her first collaboration with Michèle Noiret.

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Christian Halkin
Technical Director

Born in 1953, Christian Halkin has participated in numerous dance, variety, theatre performances and events since 1972. He has done many different jobs: stagehand, stage manager, set builder, chief electrician, lighting designer, tour manager, stage designer and technical director.

Christian discovered dance in Brussels through Maurice Béjart (Mudriste, 1971). He has been lighting and stage designer for Daniel Lommel (Greece), Quentin Rouiller (France), Alix Riga (Belgium), Dominique Bagouet (France), Carmen Serra (Spain), Luque (Spain), Grégoire Vandersmissen (Belgium), Patricia Kuypers (Belgium), Johanne Leighton (Belgium) and Patrick Bonté (Belgium). He has toured with Josef Nadj since 2000. He also designed the lighting for the singer Barbara at Théâtre des Variétés in Paris (1974), touring with her for four years.

Christian is a professor at the Scenography department of the École Nationale Supérieure des Arts Visuels, La Cambre, in Brussels and a teacher at Efpme. He has been technical director of Compagnie Michèle Noiret since 2006.

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Patric Jean

Director/producer

Patric Jean grew up in Belgium, in Borinage, influenced by a mother who was a lyrical singer and the world of the working class. He studied theater (earning a first prize in Brussel’s Royal Conservatory), then philology (at the Free University of Brussels) and finally cinema (at the INSAS). His first film, Kids from the coal - A letter to Henri Storck, was a big success at the festivals and won a number of prizes (including the grand prize at Amsterdam’s IDFA); it created quite a stir in Belgium and was diffused by several national television channels. He next filmed Traces, a docu-fiction based on the life of the painter Didier Mahieu. The film was selected for a number of festivals and earned many prizes, most notably for its photography. His first feature length film, Might is Right, was originally filmed for television (ARTE, RTBF, VRT) and later came out in movie theaters in France. It earned prizes at international festivals and was broadcast worldwide (Finland, Iran, Japan...). After its theatrical release, it won the famous European prize, the CIVIS, in Berlin. He next shot three short documentary films for ARTE, Bienvenue chez Pie, Bienvenue chez Ezz, and Bienvenue chez Hassan. His second feature length film, entitled D’un mur à l’autre, de Berlin à Ceuta/Wall to Wall, from Berlin to Ceuta, is a musical road movie about the encounter with migrant workers. The film establishes a political stance through a tone much lighter than that of his previous films. The voyage becomes synonymous with pleasure, even if it finishes badly. The film earned some important prizes, including the mediterranean prize for documentaries. Masculine domination is a feature length documentary released in theaters in France, Belgium and Canada in November 2009, and distributed by UGC. Very radical, it’s a provocative film which defends the feminist point of view held by a man. In 2011, he directed the video installation Carcans, for the VIA festival in Belgium. Patric Jean directed several films for the web (ARTE Le Louvre, Code barres, etc) as well as politically motivated television spots (treating such themes as rape and prostitution). Passionate about nonlinear writing, he is currently preparing an early 2012 trans-media documentary project for television, internet and telephone as well as for the real world beyond these devices. For several years he’s kept a political blog, on which he regularly examines themes related to social issues. He’s also working on a feature length fictional film. As a producer in France and Belgium (Black Moon and Black Moon France) he develops diverse film projects with different directors. Michèle Noiret’s 2013 creation, Hors-champ, is his first collaboration with her.

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Mathias Jung

Text / Stage Collaborator

Mathias Jung graduated from École nationale du Théâtre national de Strasbourg, where he trained as an actor. Since 1984 he has worked with numerous theatre directors, including Jean-Pierre Vincent, André Engel, Bernard Sobel, Jean-Luc Lagarce, Jacques Lassalle, Gilberte Tsaï and François Rancillac in a highly varied repertoire. In Belgium he has worked several times with Martine Wyckaert at Théâtre de la Balsamine, in Romeo and Juliette, Le plus heureux des trois and Interlude.

Mathias Jung has also participated as an actor and narrator in numerous operas and musicals of mostly contemporary composers, such as Heiner Goebbels, Philippe Hersant, Betsy Jolas, Michaël Lévinas, Richard Dubelsky and Mark Foster. Since the early 1990s he has been the narrator of Luigi Nono’s opera Prometeo – tragedia del ascolto, staged throughout the world under such directors as Claudio Abbado, André Richard, Peter Öetvös, Ingo Metzmacher and Diego Masson. He took part in the theatre version of the same opera, staged by Bob Wilson at Théâtre de la Monnaie in Brussels. He is now preparing himself ahead of working with Emmanuel Nunes on his opera La douce, staged at the Porto festival under the direction of Peter Rundel.

In film, he has worked several times with Jacques Rivette and Agneszka Holland, but also with Otar Iosseliani, Jean-Pierre Mocky, Gilian Armstrong, Patrick Braoudé, Didier Bourdon, Jean-Loup Hubert, Eric Heuman and Nikos Papatakis.

He has also participated in two productions by the choreographer Mathilde Monnier: L’atelier en pièce and Arrêtez, arrêtons, arrête.

For the past few years Mathias Jung has devoted much of his time to theatre writing and directing. He staged Bruits, désordre et combustion based on three plays and one act by Molière at Théâtre de Genneviliers and Hors gabarit, a musical show with Pierre Charial and Françoise Terrioux at Théâtre national de Strasbourg. Most recently he participated in putting together Agnès Chomié’s latest musical show, Chansons passagères pour un chien qui dit rien.

He has written three original plays: Week-end à Natashquan, Des bienfaits de la gymnastique suédoise and Baptiste Pearnacker, as well as Y croire adapted from Georges Bernanos’ novel Un Crime and Arden, adapted from Arden of Faversham, an unattributed Elizabethan play.

He wrote some texts for Michèle Noiret's DEMAIN.

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Alain Lagarde

Scenographer and costumer

Since training as a scenographer at École du Théâtre National de Strasbourg between 1983 and 1986, he has created the sets and costumes of numerous theatre and dance shows and operas.

He has worked with Michèle Noiret on Les Familiers du Labyrinthe at Opéra Garnier in February 2005 and Les Arpenteurs at Théâtre National de Bruxelles in May 2007.

For dance, he has also created the sets and costumes for Envol d’Icare at Opéra Garnier, choreographed by Thierry Malandain.

In the theatre he designed the sets of Jour du destin (Del Castillo), Three days of Rain (Greenberg) and Perthus (J.M. Besset) for G. Désvaux. He has also worked regularly with Matthew Jocelyn since The Atheist's Tragedy (Cyril Tourneur) in 1992, creating the scenery for Three Sisters (Chekov), Annonce faite à Marie (Claudel), Macbeth and recently Menteur (Corneille) at the Strattford festival in Canada. With Jacques Lassalle he created the sets for The Aspern Papers (Henry James), Platonov at la Comédie Française and Rue de Babylone (J.M. Besset).

In opera, Alain Lagarde teamed up with Matthew Jocelyn again and created the scenery for Lucia di Lammermoor (Donizetti) at Oper Frankfurt, Le Roi Arthus (Ernest Chausson) and Die frau ohne Schatten (Strauss) at Opéra royal de la Monnaie in Brussels, Reigen (Philippe Boesmans), Alexandre Bis and Larmes de Couteau (Martinu), La Cecchina (Puccini) and L’Etoile (Chabrier). He also works with Jorge Lavelli, creating the sets for Ariodante (Handel) at Opéra Garnier and Siroë (Handel) at the Brooklyn Academy of Music in New York; with Olivier Bénézech, creating the sets and costumes for La Voix Humaine, The Barber of Seville, Le Chemineau, Don Giovanni, Idoménée, Les Mamelles de Tirésias, Le Bal Masqué, l’Heure Espagnole, La-Haut and Boris Godunov. He also created the sets for Maria Stuarda at Grand théâtre de Genève in a staging by Alain Garichot.

Next season he will be at Oper Hamburg for the creation of Das Gehege (Rihm) / Le Bal (Strasnoy) / Erwartung (Schoenberg). He is currently preparing ahead of Mozart opéra rock with Olivier Dahan and Julie, an opera by Phillippe Boesmans with Matthew Jocelyn.

He creates scenography for Les Arpenteurs and DEMAIN.

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Sergine Laloux

Photographer
After a career as a professional dancer, namely at Maurice Béjart’s 20th Century ballet, Sergine Laloux set her sights on photography, specializing from the outset in the field of dance. 1987 saw the birth of a long working relationship with choreographer Michèle Noiret.

From 1989 onwards, following a workshop in China with Guy Le Querrec of the Magnum agency, she turned her attention to black and white reporting.

In 1993, she received a prize from the Leica International Contest, entitled ‘The Fascination of black and white’ for her portfolio ‘Looking into Africa’ and was selected for the ‘Leica Magic Moments’ exhibition to celebrate 40 years of the Leica M. In 1995, she took part in an exhibition shown at the Charleroi Museum of Photography called ‘The Three Great Egyptians’, the Giseh pyramids through the history of photography, with a series of photographs from the Béjart Ballet in Lausanne. From 1991 to 1995, she lived in Portugal, working around two central themes:
The disappearing rural way of life in the Alentejo region. The life of Alentejo’s tziganes. Her latest large-scale reporting assignment took her to Tibet where she followed a humanitarian mission in the isolated villages of the Diqing region.

Since 1991 she has taken part in a large number of personal and collective exhibitions, both in Brussels and abroad.

In the sphere of travel, what particularly interests her is the human dimension that her work allows access to. The day-to-day life of the Tzigane travelling people of Alentejo, of Senegalese women, or that of Tibetans in isolated villages, are for her of the utmost importance.

Loyal to her first passion from the start, Sergine Laloux continues to photograph dance, and more specifically the work of Walid Aouni, Michèle Noiret, Bud Blumenthal, Fernando Martin, Harold Georges among others.

Her exhibition "Regards sur Michèle Noiret. Vingt ans de chorégraphies photographiés par Sergine Laloux" has been showed at the Maison de la Bellone in 2006.

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Xavier Lauwers

Lighting designer

Successively stage manager at Auditorium 44, Théâtre de l'Atelier Sainte-Anne, and Théâtre de Poche, Xavier Lauwers is currently the technical director at Théâtre 140.
After starting out as a lighting wizard for the theatre, opera and concerts, he moved to the world of dance. He first worked with Michèle Noiret in 1990 on Louisiana Breakfeast. Since then Xavier Lauwers' unusual and surrealistic lighting has subtly illuminated most of the choreographer's pieces, including L'Espace oblique, Avna, Tollund, Les Plis de la Nuit, Solo Stockhausen, In Between and Twelve Seasons. As a long-time associate Xavier Lauwers participates in the projects Mes jours et mes nuits, Sait-on jamais?, Territoires Intimes, Chambre blanche, Les Arpenteurs, DEMAIN and Minutes opportunes.

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Marc Lhommel

Lighting designer

Marc Lhommel is a light designer and musician, trained in Drama and Stage Managing at EFPME in Brussels.  
He begins his career as a technician at Théâtre Varia in Brussels, where he works for 10 years. He then becomes technical director for the Belgian theatre company Gare Centrale. Since 2004, he is the light designer for several creations and is and touring with several performances in contemporary dance and theatre in Belgium and abroad. He has worked with several choreographers and theatre directors such as Julie Bougard, Pierre Droulers, Michèle Noiret, Marielle Morales, Johanne Saunier, Sofia Betz, Françoise Bloch, Elvire Brison, Michel Dezoteux, Pietro Pizzuti, Armel Roussel, Transquinquennal, the collective Pony, the music group Vaya Con Dios, etc. He has worked in France with the company Demodésastre in Marseille, as well as in the festival Vaison Danses, in Vaison-la-Romaine. Marc Lhommel is also an active musician, regularly playing concerts as the drummer in the Belgian group Cafeneon.  He has recorded with Cafeneon, their first album on the label Station 55.

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François Paris Composer


Born in Valenciennes in 1961, the French composer François Paris studied both orchestra conducting and composition. This pupil of Ivo Malec, Betsy Jolas and Gérard Grisey at the Conservatoire National Supérieur de Musique in Paris graduated as a first prizewinner. It was not long before he made his mark. In 1993, Luciano Berio awarded him a prize by at the International Competition of Besançon. That same year, he received a commission from the Reading Committee of the IRCAM, and was hired by the Académie française in Rome, where he lived at the Villa Medicis from 1993 to 1995. On his return from Italy, he obtained his CA (teaching certificate) as Teacher in charge of conducting. In 1999, he was winner of the "Villa Médicis extra-muros" competition awarded by the AFAA, the French Association for Artistic Action, (and as such spent time in Asturias, in Spain), and in 2001, he won the Claude Arrieu Prize awarded by the SACEM. He teaches regularly in various institutions in France and abroad.
In 2004, he was named honorary professor of composition at Capital Normal University (Peking). After three years as Director of Music for the city of Sarcelles, he is currently Director of the CIRM (National Centre for Musical Creation) and of the MANCA Festival in Nice. Various national and international institutions have commissioned works from him. These are published mainly by Ricordi editions and, since 2005, Billaudot editions. They are performed and broadcast regularly in France and abroad.
In 2007, he will create the original music, interpreted by Les Percussions de Strasbourg, of the new Michèle Noiret’s choreography, Les Arpenteurs.

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Sabine Theunissen

Set designer

Sabine studied architecture in Brussels. After a year spent at L’Allestimento Scenico de la Scala de Milan, she joined the team at La Monnaie/De Munt, where during 17 seasons (1995-2012) she was a part of the research department. There she studied and developed numerous set-designs and met many scenographers and theater directors. In 2003 she met William Kentridge and began to collaborate as set-designer for The Magic Flute (TRM 2005). Since then she has designed with him the sets for The Nose (Metropolitan Opera House NYC 2010), Resist the Hours (Holland Fesitval and the Festival of Avignon 2012), and Refusal of Time (Documenta XIII, Kassel 2012). The Magic Flute has been re-staged 15 times and traveled the world (Brussels, Lille, Caen, Tel Aviv, Naples, Cape Town, Johannesburg, Aix en Provence, Rouen, Milan, Paris…). The Nose was re-staged for the Festival of Aix en Provence (2011) and at the Lyon Opera (2011). Parallel to all this she created the sets for La Dispute (The Argument) and Marrakech directed by her sister Hélène Theunissen at the Theatre de la Place de Martyrs.
In 2012, she’s at work on the sets for Ariane et Barbe Bleu for the Dijon Opera, directed by Lilo Baur. The 2013 creation of Michèle Noiret will be her first with the choreographer.

 

 

 

 

Todor Todoroff

Engineer-composer

Todor Todoroff is an Electrical Engineer specialized in Telecommunications and received a First Prize and and a Higher Degree in Electroacoustic Composition in the Conservatories of Brussels and Mons.

After research in the field of speech processing at the Free University of Brussels, he was during 5 years head of the Computer Music Research at the Polytechnic Faculty in Mons. He developed at ARTeM (Art, Recherche, technologie et Musique) interactive systems for composers, musicians, dancers and installations and is currently researcher at the Numediart Institute at UMons and teacher at the art school ARTS2.
His electroacoustic music shows a special interest for sound spatialisation and research into new forms of interaction and sound transformation. Following his interest in the dialogue between electroacoustic music and other art forms, he composes for video, film, theatre, contemporary dance, most notably through his collaboration with Belgian choreographer Michèle Noiret on eleven dance performances since 1997, and for installations, often with other artists like Marie-Jo Lafontaine, the FOAM collective, Fred Vaillant, Mario Benjamin and Laura Colmenares Guerra. He received commissions from IMEB (Institut for Electroacoustic Music in Bourges), the Paris Opera, Art Zoyd, Musiques Nouvelles, Festivaal van Vlaanderen, and ZKM (Zentrum für Kunst und Medientechnologie).
Prize of the Audience (Noroit 91), First Prize (Bourges 2007), Mentions (Bourges 2002, 2005, 2009) and finalist in several competitions.

 

 

 

Fred Vaillant

Artistic assistant and videast

Fred Vaillant started out as a self-educated dancer, developing his knowledge through daily training and encounters with choreographers (Georges Appaix, Michèle Noiret, Hélène Cathala, Fabrice Ramalingom...) for whom he created about twenty pieces between 1986 and 1999. He then became an assistant choreographer at the Cairo Opera House, with Walid Aouni, before joining Michèle Noiret as an assistant choreographer for  Twelve Seasons (May 2001). As a videast and Michèle Noiret's artistic assistant he contributed to her projects  Mes jours et mes nuits (Prospective I and II, April 2002) and  Sait-on jamais? (Prospective III, May 2003), and he collaborates on  Territoires intimes (March 2004). Concurrently he created visuals for musical performances (with DJ Olive at the Venice Biennale, with David Shea at the Bis Art Festival) and the theatre (with Martine Wijckaert), as well as video shorts (Netdays Festival).
Since 1986 he has been teaching in different cities and dance companies (in France, Canada, Morocco, Egypt, Belgium…) and he recently launched an educational video project in several schools.



Wim Vermeylen

scenography : design and construction
Wim Vermeylen started his career as a senior set designer on several feature films. He then worked as a production assistant on several projects by contemporary artists. His vast and worldwide experience of the scenography of cultural exhibitions led him to create networks of creative artists and production units.
He met Michèle Noiret while working on In Between in 2000. In 2001, he participated in the creation of Twelve Seasons: he developed and produced the set designed by Paolo Atzori. His collaboration with the choreographer continues with the projects Mes jours et mes nuits (Prospective I and II, April 2002),  Sait-on jamais? (Prospective III, May 2003), Territoires intimes (March 2004) for which he designs the scenography and oversees the technical aspects and Chambre blanche.


Aliocha Van der Avoort

Video et composer

Aliocha Van der Avoort graduated from INSAS (Institut National Supérieur des Arts de la Scène) as a camera operator in 1990. At the same time, he followed courses in electroacoustic composition at the Conservatoire Royal de Musique in Mons. He has developed and produced sound and video projects for theatre and dance, as well as installations for the plastic arts.

He has operated the camera on numerous films about dance: for Thierry De Mey, Anne Teresa de Keersmaeker, Wim Vandekeybus, Willam Forsythe and others. He has also produced video and musical creations for Meg Stuart, Anne Teresa de Keersmaeker, Lillia Mestre and Davis Freeman, Marie-Jo Lafontaine, Marie-Josée Burki, Thomas Hauert among others. He conceived three video installations with Boris Van der Avoort: Affetti, La dérive des sentiments and Des-ordres.

He creates the sound environment of Michèle Noiret's DEMAIN.


 




Stevie Wishart
Composer

Wishart was initially trained as a dancer but interests in composition led her to specialize in composition at the University of York and continued with scholarships at the Guildhall School of Music and Drama (on violin and voice, Diploma in Advanced Performance) and a Vicente Cañada Blanch Junior Research Fellowship at the University of Oxford.
Stevie’s interests in musical improvisation, composition and dance have been much influenced by ancient and modern technologies and by David Tudor, Merce Cunningham and John Cage and more recently by Fred Frith, with whom she performs.  As a performer (violin, hurdy-gurdy & voice) she works with her own groups Sinfonye and Transients, and is in much demand for solo improvisations. She has released many cds and her music has been used by a number of choreographers in Europe and Australia including Pina Bausch, Yolanda Snaith, Tess de Quincy and Michèle Noiret for whom she worked with Todor Todoroff on the music for Chambre Blanche.  Stevie created Quartet at London’s ICA with Margie Medlin for dancer, robot camera, musician and virtual dancer.

 

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