The CCNO offers a training program for teachers and all professionals involved in artistic and cultural education and mediation projects (animators, educators, mediators, public relations personnel). The goal is to help you introduce choreographic tools into your educational projects.
The training consists of:
– 5 modules from 6:30-9:30 pm
– one-day intensive workshop
– a performance circuit
The program combines theory and practice. The different themes covered have been designed in direct relation to the dance season programmed by the Scène nationale d’Orléans and the CCNO.
with Anaïs Loison-Bouvet,
Information and registration:
Number of participants: 25 maximum
Training sessions: 50 €
Performance circuit: 50 – 60 € (subject to change)
Send an email to the CCNO at firstname.lastname@example.org specifying the reasons for your request and, if applicable, the impact of this training on implementation of these choreographic projects in your establishment or association.
Registration until Tuesday, February 1st, 2022
Educated in dance in France and North Africa, Marion Blondeau combines her position as choreographer with her own company 3arancia with her work as a performer, notably with Mithkal Alzghair and Phia Ménard. Since 2016, she has been studying fasciapulsology, a somatic practice, with Florence Augendre.
Dancer, choreographer, teacher and movement notator in Laban kinetography, Raphaël Cottin is as much interested in choreographic creation as in the study of movement. Trained at the Conservatoire National Supérieur de Musique et de Danse de Paris in the 1990s, he was taught by great names in classical and contemporary dance, such as Wilfride Piollet and Jean Guizerix, Peter Goss, Odile Rouquet and André Lafonta. He danced for Stéphanie Aubin, Christine Gérard, Odile Duboc and Daniel Dobbels, before joining in 2008 the company of Thomas Lebrun (today director of the CCN of Tours) with which he would dance in France and worldwide. With his own company, La Poétique des Signes, he conceives choreographic projects in which the analysis of movement and the Labanian disciplines hold a privileged place, leading to numerous collaborations over the past fifteen years with musicians, dancers and notators, working beside his core team. He has also worked regularly as choreographer or assistant in several musical productions, in collaboration with the director Jean Lacornerie (8 productions since 2009, often at the Théâtre de la Croix-Rousse and the Opéra National de Lyon) or with Thomas Lebrun (for the Académie de l’Opéra National de Paris in 2017 or the Capitole de Toulouse in 2020). He has danced for Thomas Lebrun in the pieces La constellation consternée, Les Soirées What You Want?, Trois décennies d’amour cerné, Lied Ballet, Où chaque souffle danse nos mémoires, Avant toutes disparitions, Another look at memory, Ils n’ont rien vu, and Mille et une danses which premiered in June 2021 at the Montpellier Danse Festival.
Born in Japan and living in France, Mai Ishiwata studied dance at the Conservatoire National Supérieur de Paris. After finishing her studies, she began performing with Les Passagers, a company specializing in street performances and vertical dance. In 2011, as a performer she joined Claire Durand-Drouhin’s company Traction, whose creations involve performers alongside the residents of the psychiatric hospital of Limoges. In 2014, Cécile Loyer – company C.Loy invited her for the creation of Une pièce manquante, the first of several collaborations continuing today. Mai is also currently dancing Utt, a solo originally choreographed by Ko Murobushi for Carlotta Ikeda, and collaborating with the company Medulla, with Naomi Mutoh and Laurent Paris on their new piece Le grand luminaire.
Anaïs Loison-Bouvet’s research examines the way in which the discourse of specialists (journalists, mediators, researchers) shape the experience of spectators of contemporary dance works. In her doctoral thesis, defended in 2018 at the University of Paris 8 Vincennes-Saint-Denis, she focused in particular on a corpus of choreographic pieces considered by dance experts at the time of their premieres as “too violent”.
In parallel to his activity as a dancer with Catherine Diverrès, Boris Charmatz and Olivier Dubois, Thierry Micouin creates for his own company T.M Project. He tackled the question of sexual identity with his first solo W.H.O in 2006 and then that of male prostitution in 2009 with Men at Work go Slow! as part of the Culturesfrance - Hors les murs program (Villa Médicis). Since 2013 he has been collaborating with the sound artist Pauline Boyer. They created Double Jack in 2014 and then Synapse as part of the Mettre en Scène Festival in Rennes in November 2015. During the 2016-18 seasons Thierry Micouin was a guest artist at the Manège de Reims, which hosted the premiere of Backline in 2017. Thierry Micouin and Pauline Boyer launched the successful tender for Département 56’s project “Corps, espaces sensibles”, with Faille, which premiered at the contemporary art center Domaine de Kerguéhennec in 2018. In 2019, Thierry created the piece Eighteen with his daughter Ilana at the Ménagerie de Verre in Paris as part of the Festival Etrange Cargo. In 2021, Thierry Micouin and Pauline Boyer created Visages d’un Pays, a participative project in the territory of Centre Ouest Bretagne in collaboration with the Centre Pompidou, and they are preparing a new piece, Jour Futur, for four dancers to premiere in 2022.
Choreographer by training, Michel Schweizer wants to reinstill reality to the stage, reshuffling the deck of his original field to propose unclassifiable forms – or rather experiences that reposition the artist in the sphere of social and civic life. Whether he invites dog handlers, a former legionnaire, a philosopher and a psychoanalyst for a thorough critique of neo-liberalism (Bleib), or asks children to talk about us, the adults (Keep calm), or about their desires and their relationship to the world (Cheptel), or asks ballet stars at the end of their career to talk about freedom in a very codified discipline (Cartel), or bursts the boundaries of difference with the disabled actors of Oiseau-mouche (Les Diables)… it is still and always about humanity for Michel Schweizer, who wants to be “useful”, as he says, “because I believe that outside it is becoming more and more complicated. I find that my way of approaching things on stage can be useful in relation to what is decaying or deteriorating outside.”