From 1996 till 2001, after university studies of Aesthetics at the Sorbonne, Fanny de Chaillé works with Daniel Larrieu at the National Choreographic Centre of Tours, first as a production assistant for the plays On était si tranquille, Feutre (for which she composed the musical score with Rubin Steiner) and +Qu’hier, and as an interpreter for Cenizas. She also collaborates with Matthieu Doze (for the direction of solo-films such as sous eXposé) and Rachid Ouramdane, (as the interpreter for Face cachée and À l’œil nu as well as the sound director for Au bord des métamorphoses and Les Morts pudiques). With Gwenaël Morin, she plays in the film Anéantis and in the plays Guillaume Tell, Philoctète and Lorenzaccio.
Since 1995, she creates her own plays, installations and performances: Karaokurt (1996), a karaoke based on the work of Kurt Schwitters, l’Ursonate ; La Pierre de causette (1997), an installation-performance ; Le Robert (2000), a performance for a dancer and a dictionary ; Le Voyage d’hiver (2001), a reading-performance from an eponymous text of Georges Perec ; Wake Up (2003), a concert of 55 clocks ; and also Underwear, pour une politique du défilé (2003), Ta ta ta (2005), AMÉRIQUE (2006), Gonzo Conférence and À nous deux (2007), choreographic performances.
She also works as an assistant for Emmanuelle Huynh, for Cribles and Shinbaï, le vol de l’âme (2009), and with Alain Buffard, for Tout va bien (2010). She founded the group Les Velourses with Grégoire Monsaingeon, a musical duo responding to commands.
Since November 2009, she is an associated artist to the Théâtre de la Cité internationale, Paris. In June 2010 during “Week-end à la Cité” she created La Bibliothèque, a play conducted with 23 residents of the Cité universitaire internationale. In May 2011, she created Je suis un metteur en scène japonais that was presented in December 2012, and Passage à l’acte in collaboration with Philippe Ramette in November 2011, and Mmeellooddyy Nneellssoonn with Grégoire Monsaingeon.
Margot Alexandre begins her theater training at the Conservatoire du Vème arrondissement, in Paris, with Bruno Wacrenier. Since her graduation and among other things, she played in Clara 69 by Gildas Milin, directed by Maroussa Leclerc, Du Sang sur les Roses by Julie Rossello-Rochet, directed by Lucie Rébéré (company La Maison). She worked with the collective la vie brève around different writing works on stage, directed by Marc Vittecoq and Juliette Navis. Since a few years she collaborates and participates in Un festival à Villeréal organised by the company Vous êtes ici. On the screen, she acts in Les Louves, a medium-length film by Nicolas Giuliani, which came out in 2013 (won an award at the Festival Silhouette) and in Sébastien Téot’s films. In 2016, she co- created with Nans Laborde-Jourdàa, the Toro Toro company.
Guillaume Bailliart makes theater since about 20 years, first as an actor but now also as a director. Here are some names or entities that have marked his professional playing life: le Viet Vo Dao, Avignon conservatoire directed by Pascal Papini, the Theater-Compagnonnage directed behind the scene by Sylvie Mongin Algan, Oleg Koudriachov, Alexandre Del Perrugia, Marc Tompkins, the actors collective Olympique Pandémonium, Gwénael Morin, Michel Raskine, the Association Nöjd, Fanny de Chaillé, Ramdam, Ludor Citrik, Fantômas group…
Born in France, in 1975, Willy Cessa first studied music and then lighting design for two years, in France.
Since 2001, he works as a stage manager, lighting technician and lighting designer for different artists and institutions: Centre Dramatique Régional des Pays de la Loire, Herman Diephuis, company Les Aphoristes, company KLP, Esther Aumatell, Franck II Louise, Damien Jalet, Robyn Orlin, Sidi Larbi Cherkaoui and Fanny de Chaillé.
Manuel Coursin, born in Aix-en-Provence, is a sound dramaturg, stage manager and musician. Since 1985, I support projects rooted in contemporary dance, theatre and other ephemeral and audio formats, such as radio, recordings and installations.
Among others, I’m a big fan of John Cage, Luc Ferrari or Dominique Petitgand. Strongly affected by my collaborations with Grand Magasin and Marco Berretini.
Current projects shared with Arnaud Saury, Latifa Laâbissi, Nicolas Bouchaud / Eric Didry, Yes Igor, Fanny de Chaillé.
For the last 10 years I created a series of «noise making» titled Le son des choses, which the last episode (n°8) is called 4 KM/H and was conceived with Theo Kooijman, Chiara Gallerani and Eric Didry.
Nadia Lauro,scenographer and visual artist, develops her work in different contexts (stage spaces, landscape architecture, museums). She creates scenographic devices, environments, visual installations which generates innovative ways of seeing and being together. She collaborates with choreographers and performers, such as Jennifer Lacey, Vera Mantero, Benoît Lachambre, Frans Poesltra, Barbara Kraus, Emmanuelle Huynh, Fanny de Chaillé, Alain Buffard, Antonija Livingstone, Jonathan Capdevielle and Latifa Laâbissi, with whom she co-signed different projects.
In 2007, les Presses du Réel published Jennifer Lacey & Nadia Lauro – dispositifs chorégraphiques by Alexandra Baudelot. In 2000, she received The Bessies, New York Dance and Performance Awards for the visual design of $Shot (Lacey / Lauro / Parkins / Cornell).
In 1998, she co-founded with the architect Laurence Crémel, l’association Squash Cake Bureau in which she designed landscapes areas and urban furniture.
She also did the scenography for the concert Transhumance (Cocorosie, Nadia Lauro, Gaspard Yurkévitch) at the Centre Georges Pompidou. She created the installations/performance Tu montes, As Atletas and I hear voices, in different European locations, Japan and Korea.
In 2013, she was guest artist at the 4th edition of Centre Pompidou’s Nouveau Festival and presented La Clairière, with Fanny de Chaillé.
Grégoire de Monsaingeon is an actor, theatre director, scriptwriter and musician. Since 1997, he works on texts by Walser, Strindberg, Beckett, Ibsen, Faulkner, Garcia Lorca, Pasolini, Sarah Kane, Shakespeare, Camus, Musset, Molière, Racine, Büchner, Handke – with disparate directors – Sergueï Issayev, Leïla Rabih and Markus Joss, Gwénaël Morin, Laurent Fréchuret, Michel Raskine, Richard Brunel, Christophe Perton, Philippe Vincent, Joris Lacoste, Tiago Rodriges. He extends his stage explorations with the choreographer Fanny de Chaillé in pieces such as Tatata, COLOC, Le GROUPE and CHUT, with the dancers from Label Cedana in Angle mort, and with the actors from the Nöjd’s collective in Yvonne, Princesse de Bourgogne. With Fanny de Chaillé he also co-founds “Les Velours”, a musical duet in response to commission works. In 1999 he directed Grand et Petit by Botho Strauss, and in 2003 Chutes by Gregory Motton, presented at the Subsistances de Lyon. In 2012, with Fanny de Chaillé he developed Mmeellooddyy Nneellssoonn at the Théâtre de la Cité Internationale. Between 2000 et 2013, he intensively got involved with Gwenaël Morin’s work (Théâtre normal, Mademoiselle Julie, Comédie sans Titre, Anéantis Movie / Blated Film, GuillaumeTell, Les Justes), and in 2009 he commitsed himself to work with her on Théâtre Permanent’s project in Laboratoires d’Aubervilliers (Lorenzaccio, Tartuffe, Bérénice, Antigone, Hamlet, Woyzeck). Along with his stage work experiences he wrote several short films including Notre nuit in 2015, Aux armes in 2011 and Un chemin de terre quand il pleut c’est un chemin de boue in 2008. In 2006, he co-wrote a full-length film with Gautier About, Chakuterie. In 2011, he played in the Benoit Cohen’s full-length feature Tu seras un homme, In Trepalium directed by Vincent Lanoo for Arte, and in the Revenant’s Season 2 directed by Fabrice Gobert for Canal+. In 2015, he takes part in a long-term project lead by Tiago Rodriges for théâtre de la Bastille and starts producing Lenz-Büchner, un spectacle de moins.