La Compagnie 2minimum
This third piece in Mélanie Perrier’s triptych about love relationships is centered
around the knot. Drawn to the ground, two women oscillate between attachment
and detachment. The work modulates relations between dance, music and light
leading to a shift in the horizons of expectation of perception. Through its radical
stance, the choreographic writing invites us into a new sensorial experience.
In our current age of hyper-visibility, with everything on view, this piece is not made visible
right away. LÂCHE (To release) is already to relinquish the supremacy of the gaze, so as
to feel with our skin. Starting with an interlacing form, the work explores the adherence
between two female bodies, two skins, two fleshes, that are struggling to come apart. Drawn
to the ground, two women oscillate between attachment and detachment. Tension, pressure
and modulation of tonicity become the subtle driving force of the danced movement.
The focus of LÂCHE is the difficulty of separating from another. The skin, wearing its own
costume, a special makeup, is a witness to the multiple gestures and tensions throughout
Light, mobile living matter, acts as another body, making the dancers appear and disappear,
disturbing viewer perception.
Live music by the duo Yes Soeur, inherited from the clubbing aesthetic, is the second duet,
an essential partner for the performers, in a new dialogue between dance and viewer. With
LÂCHE, Mélanie Perrier closes her triptych about love relationships.
„Melanie Perrier‘s talent is to make this separation a war of muscles, where the mass is
working slowly towards relaxing the embrace. (...) Melanie Perrier claims here with this third
piece fiercely rooted in a single posture, a minimal and maximal gesture at the same time.
„(Rosita Boisseau, Le Monde)
THE EDGES OF THE VISIBLE
In this piece, light is not considered as an artifice, but as a choreographed visual agent, as living
perceptible matter, and as an autonomous partner. The collaboration between light and dance is
structured around disturbances of perception, which create a “body of light”. Attention is not on making
visible, but on for how long the female dancers’ bodies disappear and reappear. The work begins with
the skins’ own luminosity and plays with uncertainty about what is being shown.
DISENGAGEMENT FROM A BOND
Starting with a knot, the piece builds a disengagement of the bond between two bodies, through intertwining and wrestle
holds. Starting from the floor and never leaving the ground, the work adopts horizontality as a landscape.
The choreographic vocabulary focuses on the adhesive contact between two bodies, between two skins. Thus pressure
and tonicity become the movement’s principal driving forces.
The work vacillates between sensuality, attachment, inextinguishable yearning, and the visceral hardship of separation,
in a, once again, female duo.
This new work is a follow up to two previous works. The first was around yearning and contained movement.
The second was around inner vibration and the state of being in love. This piece concludes a dramaturgical triptych
on the love relationship.
ELECTRONIC MUSIC CREATION AS A LIVE
For this new work, the music establishes the initial setting, incurring a shift from musical pieces which usually
accompany dance projects, and giving a resolutely electronic color to the piece. Here, with a DJ and a pair of musicians,
the choreography opens up and focuses on a new relationship between movement and the music world.
Considering relinquishment of connection, what music do we have the most trouble shaking off, if not electronic music,
which particularly arranges its beats in the sole aim of stirring up intense dance energy? To choose electronic music,
rooted in the clubbing world, is thus to establish the kinesthetic empathy of the audience, in this seductive relationship,
that this music carries and is trying to cast off. This music is played live, in dialogue with the dance energy. It works on
the very issue of not getting pulled into the pulsating energy, and yet, perhaps, at times, of yielding to it.
YES SOEUR ( Alexandre Bouvier & Grégoire Simon)
Musical Franco Berlin duo consisting of Alexander Bouvier and Gregory Simon.
Constantly back and forth between contemporary sound material and from culture mix electro formal work, the two musicians after
a classic musical journey, navigating between the field of contemporary orchestral music (Ensemble Intercomporain, ANDROMEDA
MEGA EXPRESS ORCHESTRA, Boram Lie ..) and contemporary electronic scene in Europe. (Clubs, festivals). Their musical aesthetics
rather deploys to a minimal techno. Artistic openness have allowed them to work with the world of performing arts, including dance
(Gaetan Brun-Picard, Eric Minh Cuong Castaing ..)
Jan Fedinger is a light-artist and lighting-designer that has his origin in the world of theatre. Educated in Amsterdam and Helsinki he
has been working in collaborations across Europe with artist like Jefta van Dinther, Rodrigo Sobarzo, Joao Evangelista, Dennis Deter &
Anja Müller, Modulorbeat and Aitana Cordero, among others.
He developed his own way of communicating through light with the audience, always being intrigued by the way of how we look at
things influences what we actually see. Characteristics of his work have been described as liveliness and aliveness of light. A light as
a body that can be shaped and choreographed like the body of a dancer.
The Spring of 2014 will see the premieres of «the dog days are over» by Jan Martens, «the Animated» by Lea Martini and the «Karaoke
Dialogues» by Daniel Linnehan.
His artistic development ventured into many other art forms like photography and film, design for - and design of spaces but especially
found an exhaust valve in autonomous installations, in a visual art context. In the recent past these installations have been on display
in group exhibitions in Enschede [NL], Helsinki [FI], Paris[F] and Schiedam [NL]. Currently he is developing the installation series «land
[e]scapes» that seeks to create an awareness for natural light phenomena in a digitalising world in order to create an archive of experiences.
After a childhood in bretagne, Marie began in 1999 TheContemporary national Dance Paris Conservatory. She joined in 2005 as an intern ,
the Ririe Woodbury Dance Company in Salt Lake City (USA) where she works with Charlotte Boye -Christensen , and met Murray Louis and
Alberto del Saz , and dance in Imago ( Nikolaïs , 1963) Capitol Theater.
Back in France , she performed for choreographers Laurence Marthouret and Emilio Calcagno (especially in the Nouvelle Vague / Generation
Bagnolet in parts Preljocaj , and Bagouet Galotta having been awarded at Bagnolet in the 80s ) . She also works with directors Nirupama
Nityanandan the poet Julien Marcland , pianist David Greilsammer , videographer Julien hinge , directors Ludivine Large Bessette and
Etienne Aussel , designer clothes Marie Labarelle . She has worked with directors Hélène Cinque Alexander Zloto , Rafael and Nicolas Vallet
Biancetto and led to them a reflection on the work of the body of the actor .
More recently , she danced for choreographers Jenny Claire Olivier Bioret Martin Chaput and Martial Chazallon, Frederike Unger and
Jérôme Ferron, Carlo Locatelli, Nans Martin, Johanna Levy.
In June 2013, she rubs the copyright game co- signing and co- interpreting Pierre Pontvianne a Vif du Sujet controlled by the SACD , Punkt
created in June vents .
Qualified teacher since 2007, Marie aa heart to explore ways of linking its artistic and educational experiences , and diversify its collaborations
in the constantly renewed desire to meet otherness.
Véronique started her training at Académie Chaptal ( ballet ) in Paris before going on to study at the C.N.S.M de Paris under the direction
of Quentin Rouillier.
After graduating in 2003, she joined the Junior Ballet of C.N.S.M where she danced in works by Hervé Robbe, Pedro Pauwels, Angelin
Preljocaj and Mark Tompkins.
After which she danced in works by Odile Duboc, Laurence Marthouret, M.C Pietragalla, Isira Makuloluwe, David Drouard, Willi Dorner,
Théâtre de la Canaille ( Denis Buquet ), Cie du Nouveau Jour ( Sophie Girod ), Yoshi Oïda.
Since 2012, she is working with Sylvain Groud, Gaëtan Brun Picard, Benoît Bar, Catherine Dreyfus and Olivier Dubois.
She starts at the same time to play electronic music when she is not dancing.
Dancer, a graduate of contemporary dance and teacher specializing in analysis of the body in dance movement. She develops a theoretical
and practical education which bring related artistic empiricism and the scientific basis of learning movement. Her approach provides
criteria for observation and analysis to capture and evaluate the specific coordination in the art of dance (physical, perceptual and symbolic
factors). This research highlights the interactions between the motor development of children and expertise danced gesture to preserve
the health of the dancer, his biological coherence and artistic intentionality. She collaborates with choreographers companies as Alban
Richard, Mélanie Perrier and Absolutamente (Jesus Sevari). She is also involved in the training of osteopaths on posture and therapeutic
Make up designer
Since 2009, he created scenography and stage design of the Company Un Soir Ailleurs. Since 2007, he worked with the makeup and
the metamorphosis of the face for different dance company. He is currently working on the concept of removing make-repackaging, a
work “pictorial”. He realised an make-up scores for different choregraphic pieces of Aurelian Richard, show in the Centre National de La
Danse (Paris). He works in a cycle of performance-based daily data in the public domain. He follows courses contemporary dance Toméo
Vergès, Fabienne Mentjuck, Mie Coquempot or even Alban Richard.
He also dances for Pierre Cottreau and Geisha Fountain in Eye to Eye presented this year in Buenos Aires, then the NEC in February.
La Compagnie 2minimum
Founded by Mélanie Perrier in 2010, the Company develops a work around the gesture with a strong relationship between dance and the image
( especially dance and light). When the light can make movement and the movement can make light. Each proposal joins in a research around
the contact of two people and the sense of Relationship. The choreographic work bases on a work of writing of specific scores. Through
scores of meetings, perceptions and light, each choreography becomes a written overview opening on a language of uncluttered movement.
Each creation are redefining the relationships involved in a spectacular form, those between dance, light and music, for become a perceptual
experience. The company advocates a virtuosity of the relationship through his creations, its way to create teams, actions to diverse audiences,
his writings : a new dance making ethics.
2015: Partition sonore pour une danse qui ne se voit (presque) plus (performance)
2015: Pas de contact sans écart (performance)
2014 : Nos Charmes n’auront pas suffi
2014 : Split Skin, after james Turell ( performance)
2013 : Imminence
2011-2012 : Jeux de promenades 1 & 2 (Mélanie Perrier & Julie Laporte)
2010 : Solo pour un Tube réactivable
2010 : Following / 5 bascules dans un jardin étendu (Mélanie Perrier & Julie Laporte)
Born in 1976. She comes from visual arts and performance in which she created, during a period of more than 10 years, different participative
performances made by situations and gestures where the question and the place of the other is the central knot. Since a few years her work
has traced a line from image towards choreography and from performance towards dance. Nourished by her multiple perspectives, Mélanie
Perrier chooses to work around uncluttered gestures which involve and activate dance starting from the duet.
The issue of the duo is central and it progressively leads her to formulate projects for the stage. In 2010 she founded the 2minimum Company.
She creates her artistic path through some decisive meetings with artists and choreographers such as Mark Tompkins, Deborah Hay, Lisa
Nelson, Anna Halprin, Laurent Pichaud, Antonia Baehr. Over the years, she also collaborates with Catherine Contour, Véronique Albert, Jean-Paul
Thibeau. In 2011-2012, she is one of the choreographers selected for “Transforme”, the International Program of research and choreographic
composition organized by the Fondation Royaumont and directed by Myriam Gourfink around the question of writing. Selected for Danse
Elargie 2012, she received a special mention of the Jury for Imminence.
Her company was soon supported by several National CCN in France (CCN LePhare Havre, Musée de la danse, CCNT of Tours, CCN of Caen)
as well as Rencontres chorégraphiques internationales de Seine-Saint-Denis, which continue to support her. Her company was invited in 2015,
in residence in the department of Essonne (near Paris), by the DRAC Ile-de-France. In 2016, she is one of the 5 companions artists of the Centre
National Chorégraphique of Caen in Normandy participating in the project Alban Richard, for the next 3 years.
Nourishing her artistic research by a reflective work, in 2005 she created and directed, in parallel to the 2minimum Company, the “Laboratoire
du geste” where she examines issues such as the aesthetics of the gesture and the scores, instructions and artistic protocols.
She has been invited to discuss around these subjects in conferences and workshops concerning visual arts, performance and dance In France
and in US. She is also Associate Professor at Sorbonne University around practicing and issues between performance, dance and Visual Art.
LACHE (creation 2015)
- May, 26 2016: Stamsund International Festival teater, Norvége
- April, 8, 2016 : Festival de danse, Espace J.Tati, Orsay
- June,12 & 13 2015 : Rencontres chorégraphiques internationales de Seine-SaintDenis, Nouveau Théâtre de Montreuil
Pas de contact sans écart (performance)
- December,8, 2015:Théâtre de Yerres, (foyer) with 22 junior dancers.
-February, 12, 2015: Lycée Charles de Gaulle, Rosny S/bois. with 22 junior dancers.
Jeux de promenades 1 & 2. (création 2011) with Julie Laporte
- November,3-5th, 2011: (duett score), JEUX, Art Eastern Bloc,
- October,8th 2011: (duett score), Paris
- July, 23-24th, 2011 : (group score), Sète
- June, 18-19th, 2011: (group score), Laboratoire du geste,Paris
- September, 14-18th, 2010 : Biennale de la Danse de Lyon,
- June, 15-17th, 2010: (group score), Triple Hors Lits / Festival de
Nos Charmes n’auront pas suffi (création 2014)
- September,15-16,206, Choregraphic piece on Churchs,
- July,2, 2016: Choregraphic piece on Churchs, Collegiale d’Etampes
- January, 30, 2016: Installation Nos charmes n’auront pas suffi (endless version),
Shake the Devil, CCN de Caen en Normandie
- 22-23 May,2014: Rencontres chorégraphiques internationales de Seine-Saint-Denis
Following, (Performance et lecture mouvementée) / 5 bascules
dans un jardin étendu
Duo with Julie Laporte.
- January, 15-17th, 2010: Exist-ence 2010, Performance/ Live Art
- April, 20-26, 2009 : NewMediaFest’2010, French Video Art/
Imminence Trio (création 2013)
- October,7th 2013: Festival ZOA, Paris
- April,3rd 2013: Festival pieds Nus/ CCN du Havre
- March, 29th 2013: Festival Incandescences, Montreuil.
- January,18-19th 2013: Théâtre de l’Etoile du Nord, Paris.
- December, 20 2012: Musée de la danse/ CCN Rennes.
- Novembre, 23rd 2012: Soirée Fondation Hermès /Abbaye de Royaumont.
- October, 20 2012: PSO, CCN Rilleux La pape
- July,4-5th 2012: Théâtre 3bisf, Aix en Provence.
- June,16th 2012: Danse Elargie /Théâtre de la Ville,Paris (mention spéciale du jury)
- February, 26 2012: FSC, Abbaye de Royaumont, PRCC
Score after Deborah, avec le collectif PP
Activation of the special score based on Deborah Hay principles.
with Françoise Féraud, Nathalie Couet, Laurence Monnot.
- June,26th 2011: Festival June Events/Skite Atelier de Paris/C.Carlson, Cartoucherie,
Checking hands (gesture I), Et si c’était elle ?, It is the right moment
? L’avez vous trouvé ( did you find him/her ?)
- September, 19th, 2010: Performance series,
La Bellone (Maison du Spectacle) Bruxelles (Belgium)
Cours de chutes en temps de crise.
Arrondir les angles
- May, 23-24th, 2009, Congrès à géométrie Inverse/
FORCE DE L’ART02 Grand Palais, Paris
- July, 22, 2007, 65e Festival d’Avignon (IN) , Protocole Méta/
with Catherine Contour. (performative Protocole)
The term tonus designate the “slight contractile tension maintained by all normal skeletal muscles
when not directly engaged in performing a specific act.”
That permanent tension is the starting point for this solo, so as to define a repertoire ranging from tonus
to vibration, from swaying to pulsing, like four anchoring points perceived, not as generators of movement, but as movement in its own right.
The choice made here is to pose specific technical aspects as the basic working material. Starting from
the vitality of e-motion, from that permanent movement, in order to echo the state of being in love (both
an individual journey and a universal experience), while relieving it of its dramaturgical weight.
How does the other cross through me? How does the dazzling effect of the encounter move in and live
inside the body? How does molecular alchemy participate in this transformation? To what extent is
being in love a hallucinatory state that invites us to temporarily disconnect from the weight of the real?
These are the touch points that will allow us to consider movement as an internal path lending itself to
putting both the performer and the space in motion.
Aside from their technical subtleties, these four angles of approach will be decomposed, remodeled and
reassembled to molt into global motion, like a permanent and ever-changing wave evolving within and
through the performer’s body. In direct liaison with a lighting system, this solo proposes to share the
internal reality experienced by the dancer, without the spectator’s having to move. For a sensitive and
kinesthetic experience for the spectator.For a dance that transmits a specific geography rather than
a specific story or history.
First taste of the piece (2’40) : http://vimeo.com/98129544
Film Piece : http://vimeo.com/98187427 ( password : solo)
Conception & choregraphy : Mélanie Perrier
Dancer : Julie Guibert
Music : Silvia Borzelli
Light designer : Erik Houllier
Costume designer : Alexandra Bertaut
Choregraphic Assistant : Cécile Médour
Images: Sophie Laly
Rencontres chorégraphiques internationales de SeineSaint-Denis, CCN le Phare, Le Havre, CCNRB/ Musée de
la danse, CCNT de Tours, DRAC ile de France.
With support du Atelier de Paris-Carolyn Carlson, Forum du Blanc Mesnil, Centre Culurel Suisse, Théâtre de
l’Agora, Scène Nationale d’Evry et d’Essonne, CND, Gaité
Lyrique, Laboratoires d’Aubervilliers.
I M M I N E N C E (2013)
Imminence is a choreographic piece for two dancers surrounded by a third one.
The main idea is the concept of “imminence”: what is about to occur and what could occur. This
concept is revealed in the piece as the possibility of touching in order to physically evoke the
desire and its emergence. Imminence is the “almost there” and not something which escapes
but rather a movement that never finishes. It’s a dialogue of a pre-contact, the borders and the
surroundings of a physical approach, an ephemeral persisting vibration between two bodies.
The imminence of touching is another manner to relate to the question of desire by making
visible only the edge of its emergence. Desire is here considered as a dazzling transition. This
imminence shows the vibrating space between two bodies approaching each other. It produces
contractions and dilations in the intermediate space existing among the dancers.
By choosing the form of a recurring face-to-face, the duo is composed by multiple moments of
approaching within the imminent touching of the two dancers.
The movement is lived and loaded with a plurality of experiences and different matters that the
dancers have been relating to, until the moment in which what is left is only a purified sketch,
a tension which becomes successively elastic, bouncing, heavy, condensed. The movement is
limited just to the vibration between two bodies. It’s always on a thread. The contact never happens.
Imminence articulates three scores: one for the choreography, one for the light and one for the
music. These three scores do not relate to the same line as in a correspondence, but rather as
in an echo of a mutual interaction.
Film Piece: http://vimeo.com/77207887/ ( password: toucher)
Conception & Choregraphy : Mélanie Perrier
choregraphic Assistante : Cécile Médour
Dancers : Doria Bélanger, Anne Chloé Le Roy,
Light design : Mélanie Perrier
Music : Silvia Borzelli
Images : Agathe Poupeney, Mélanie Perrier
Coproductions : Musée de la Danse/ CCN
de Rennes,3bisf, scène Aix en Provence
With support : Théâtre de l’Agora, Scène
Micadanse,Théâtre Louis Aragon Scène
Conventionnée Tremblay en France,Théâtre
l’Etoile du Nord, CCNR Rillieux la Pape,
CND Lyon, Théâtre de la Bastille, Fondation
Royaumont/PRCC, Werkbeurs /
Conception & choregraphy : Mélanie Perrier
Dancers : Marie Barbottin, Véronique Laugier
Live Music : Yes Soeur ( Alexandre Bouvier & Gregoire Simon)
Light design : Jan Fedinger
Make up design : Sylvain Dufour
Consultante mouvement AFMD : Nathalie Schumann
Rencontres chorégraphiques internationales de
DRAC Ile de France
Conseil Départemental de l’Essonne
FRENCH PREMIERE : JUNE, 12-13th 2015
Rencontres chorégraphiques internationales
TEASER VIDEO: http://vimeo.com/126062627
Pavillon Noir, Ballet Prejlocaj CCN Aix en Provence
Centre Chorégraphique National de Caen
CDN Haute Normandie
Théâtre Louis Aragon, Scène conventionnée danse,
Tremblay en France
Théâtre de l’Agora, Scène Nationale d’Evry
Nouveau Théatre de Montreuil/ CDN
la Faïencerie, (Scène nationale en prefiguration) Creil
PIECE Film :https://vimeo.com/132321458
Interview with Gérard Mayen :
International Diffusion :
Emmanuelle Py :
06 20 73 74 95
Compagnie 2minimum / Mélanie Perrier
147, rue de Clignancourt 75018 Paris
06 61 45 31 52