Sandar Tun Tun builds her work around fabulation, new alliances and collaborative trajectories. Artist, researcher, DJ and composer, she develops a sound, spatial and performative practice centred around listening, sensitive and critical reactivity. 
Her installations, compositions, performances, audiovisual sets or collective writings are interested in the conditions of coexistence within dominant cultures, in the space of appearance/disappearance, in the link between technology and spirituality, non-human ecologies and collective consciousness and give rise to projects with hybrid languages ranging from the creation of entities to the organisation of sound poetry evenings.  
Sandar embodies the musical identities Nay Thit (DJ, producerx) and SD S (noise, electronic music) and is also one half of BARE-TT, an experimental music duo formed in 2016 with researcher, artist and biologist Katia Barrett. BARE-TT is a conceptual audio-visual project that explores the possibilities of sonic storytelling at the intersection of queer feminist science fiction and the symbiotic relationships of the living. 

Commissioned and coproduced by: Triangle – Astérides, centre d’art contemporain and Festival Parallèle

In partnership with GMEM — Centre national de création musicales and la Friche la Belle de Mai.

You can consult the website of GMEM.

Sandar Tun Tun builds her work around fabulation, new alliances and collaborative trajectories. Artist, researcher, DJ and composer, she develops a sound, spatial and performative practice centred around listening, sensitive and critical reactivity. 
Her installations, compositions, performances, audiovisual sets or collective writings are interested in the conditions of coexistence within dominant cultures, in the space of appearance/disappearance, in the link between technology and spirituality, non-human ecologies and collective consciousness and give rise to projects with hybrid languages ranging from the creation of entities to the organisation of sound poetry evenings.  
Sandar embodies the musical identities Nay Thit (DJ, producerx) and SD S (noise, electronic music) and is also one half of BARE-TT, an experimental music duo formed in 2016 with researcher, artist and biologist Katia Barrett. BARE-TT is a conceptual audio-visual project that explores the possibilities of sonic storytelling at the intersection of queer feminist science fiction and the symbiotic relationships of the living. 

Commissioned and coproduced by: Triangle – Astérides, centre d’art contemporain and Festival Parallèle

In partnership with GMEM — Centre national de création musicales and la Friche la Belle de Mai.

You can consult the website of GMEM.

The Living and the Dead Ensemble is a group of artists, performers and poets from Haiti, France and the UK. They first came together in Haiti 2017, to produce a Haitian Creole translation and performance of Édouard Glissant’s play Monsieur Toussaint. From an original idea by Louis Henderson and Olivier Marboeuf, Ensemble OUVERTURES’ first film premiered at the 2020 Berlinale. The film explores the influence of Haiti, the first independent black republic in the Americas, in Western modernity as well as the history and present of the Caribbean.

The Living and the Dead Ensemble is currently composed of: Rossi Jacques
Casimir, Dieuvela Cherestal, Sophonie Maignan, Cynthia Maignan, James Desiris,
James Peter Etienne, Mackenson Bijou, Leonard Jean Baptiste, Olivier Marboeuf,
Louis Henderson.

Co-production: Spectre Productions, Théâtre de l’Usine à Genève, Ateliers Médicis à Clichy-Montfermeil, Kunstenfestivaldesarts (Belgique), Z33 (Belgique), Savvy Contemporary (Allemagne)

With the support of Onda - Office national de diffusion artistique.

You can visit the website The Living and the Dead Ensemble.

Chouf is an artist whose work is part of a contemporary poetic tradition of the intimate.
Her writing subtly plays with love and despair, she speaks of the living and the dead,
of the solitude of being oneself, of the courage to say things.

Trustfall is a Paris-based artist who creates tense pop songs that resonate between the dark steel of Michael Mann’s Heat soundtrack and the blues of Sade chasing the dragon. Mentored by avant-garde composer and artist William Basinski and the late cultural theorist Mark Fisher, his music features a classic sense of construction coupled with abstract, ghostly k-funk deeply rooted in contemporary experience. Working in Los Angeles, London, Paris and Berlin, he has honed his craft as an in-demand songwriter and instrumentalist, performed live with contemporaries Kelsey Lu and Holly Herndon, composed soundtracks for films and fashion shows, and produced acclaimed mixes for Radio alHara, NTS Radio and Rinse FM.

Chkoun is it? is an association which tends to put forward hybridization, intersectionality and otherness as vectors of creation, by proposing cultural and musical programs where musical, festive, convivial and artistic proposals are mixed.

Trustfall is a Paris- based artist creating tensely- wound pop songs that resonate between the steely noir of Michael Mann’s Heat OST and the dragon-chasing blues of Sade. Mentored under avant-garde composer and artist William Basinski and the late cultural theorist Mark Fisher, his music is characterized by a classical sense of construction coupled with an abstract, ghostly k-funk, deeply rooted in the contemporary experience. Both working in and channeling LA, London, Paris and Berlin, he has honed his craft as an in- demand songwriter and instrumentalist, performed live with contemporaries Kelsey Lu and Holly Herndon, composed soundtracks for film and runway, and has produced acclaimed mixes for Radio alHara NTS Radio, and Rinse FM.

Marius Barthaux, directeur artistique
After obtaining a Bachelor’s degree in Literature and Theatre in Paris, Marius joined the Manufacture de Lausanne in 2015 to follow the Bachelor’s degree in contemporary dance with a creation option, which he completed in June 2018. Between January and June 2021, he will also attend the Dance and Landscape course at the Ecole Nationale Supérieure de Paysagisme de Versailles, to better understand the challenges of dance in extra-stage spaces. Professionally, he is involved in the creation of various personal and collective projects in Switzerland and France. Since 2015, he is part of a Parisian collective, La Grosse Plateforme, a transdisciplinary collective dedicated to the creation of events and artistic objects. Their first show, le Sacre , an in situ piece mixing a capella singing and dance, has been performed in many festivals for four years. During the 2018-2019 season, Marius is an associate artist at the Abri foundation, a place dedicated to young creation in Geneva, which allows him to develop the creation of a solo, dires des sommes , as well as to co-found the company des marmots in June 2019. Since May 2021 and in the prolongation of his solo, Marius continues his sensorial experiments in the public space with the children of a school in Saint Florentin under the name of a project entitled Cosmos des sommes, within the framework of the programme Création en cours piloted by the Ateliers Médicis. The aim of this project is to create a series of artistic objects linked together by similar fictions and devices.
The first collective piece to emerge from this series is called la patrouille and will be premiered at the Dancing-CDCN in Dijon in November 2021, as well as at the Château de Monthelon in May 2022 for a premiere scheduled for the end of summer 2022. Marius also performs for choreographers such as Fanny de Chaillé, La Fabrique Fastidieuse, Nicole Seiler, Nagi Gianni and Antoine Thiollier.

Karine Dahouindji, directrice artistique
Karine Dahouindji is a dancer, performer and choreographer. She trained at the conservatory of Nîmes and at the CND of Angers before entering La Manufacture to develop her universe and to invest herself in composition and improvisation. During this training she participated in various video, photo and film projects. In 2018, she obtained her Bachelor’s degree in contemporary dance and went on to participate in the Talent Adami Danse project with the choreographers Béatrice Massin and Pierre Rigal. Since then, she has continued to meet various artists with whom she has performed revivals of pieces or workshops, notably Ruth Childs and Ambra Senatore. She also created the Ouinch Ouinch collective with 3 friends and shares its artistic direction with Marius Barthaux for the moment. Karine works today mainly in Switzerland with different artists: choreographers, directors or visual artists such as Nicole Seiler, Yasmine Hugonnet, Natasza Gerlach or Maëlle Gross. She also participates in the Tanzfaktor 2020 tour with Molecutrio and in the Swiss Dance Days 2022 with Happy Hype, two pieces by Ouinch Ouinch. She also continues to work on various photo and video projects. For the 2021/2022 season, Karine is an associate artist at l’Abri, an opportunity for her to launch her first solo piece.

Adél Juhász, performeuse
Adél Juhász is a Hungarian contemporary dancer, based between Hungary and Switzerland. She studied at the Budapest Contemporary Dance Academy, where she began to develop her own movement language and experiment in the creative field. In 2015 she created the piece Coexit in collaboration with the musician Áron Porteleki. In 2016, she joined the Bachelor of Contemporary Dance at La Manufacture in Lausanne. In 2018, she created the solo László, which has been shown several times (Les Quarts d’Heure de Sévelin, Sziget festival, Dunapart showcase, Ubik Eklekktik festival). Since 2019, she has been working with Csaba Molnár as a performer in the piece Gods and Monsters, and with the Collectif Ouinch Ouinch, with whom she is touring the piece Molecutrio, a piece selected for the Tanzfaktor 2020 scheme, as well as Happy Hype. This year, she is an associate artist at La Fondation L’Abri, a residency where she is developing her next creation, László Károlyné.

Elie Autin, performeur
Elie Autin first entered the Montauban Conservatory and then the Toulouse Conservatory. At the same time, he pursued a classical education. In 2016, he joined the Manufacture-Lausanne to follow the Bachelor’s degree in contemporary dance with a creation option, which he will complete in June 2019.
During his studies, Élie met different artists and choreographers such as Simone Aughterlony, Mark Lorimer, Valeria Bertolotto, Cindy Van Acker, Thomas Hauert, Gabriel Schenker. He was invited by Dadid Zambrano to perform a solo for the opening of his art centre Tic Tac Art Center in Brussels in 2018. In parallel to his studies at the Manufacture, Élie has been involved in several projects such as with Jérôme Bel for Gala, which he danced three times, notably for the Bâtie festival. He also collaborates with Vincent Macaigne for En manque. In November 2019 Élie Autin will be in residence at the Tanzhaus (Zurich) with Juliette Uzor to reinvent their Bachelor duo created at the Manufacture. In 2020 Élie will be part of the OPERALAB project organised by the Grand Théâtre de Genève, the Comédie de Genève and the Hautes Écoles d’Art de Suisse Romande. During the 2020-2021 season, he will be part of Alexandre Doublet’s creation.

Maud Hala Chami
aka Dj Mulah
Music
In 2016, Maud Hala Chami created the association ZRO21, an independent music label and publishing house, specialised in artist development and urban culture management. Mulah is a versatile artist who likes to mix the technicality of music production with the festive world of live performance and entertainment. The Ouinch Ouinch call on her creativity and musical relevance, to launch the Happy Hype concept. In 2019, Maud Hala Chami becomes a representative of women in the mix world. Helping through her live performances to highlight equality, in all its forms.

Collin Cabanis
Performance
Collin has practiced breakdance for more than ten years in Lyon. At the same time he started to learn contemporary dance, gradually moving away from breakdance. He also trained in administrative and commercial management of cultural organisations at the University of Lyon 3. At the Manufacture, Collin plunged into the pool of improvisation and fed this practice by crossing paths with many great improvisers such as Thomas Hauert, Martin Kilvady and David Zambrano. During her training, she participated in creations with Alix Eynaudi, Mathilde Monnier and Nicole Seiler, with whom she also created Wouah!. In spring 2021, Thomas Hauert gave her the solo Personne, which she performed at the Brigitinnes in Brussels. Finally, she is a member of the Foulles collective, with whom she has already created two pieces: Song for four people and one Bench(2019) and A Prayer Before (2020). Since 2018, iel has been organising, in collaboration with Fabio Zoppelli, the Monday Evening Sharings, which are evenings of instantaneous performances with live musicians, first at the Manufacture and then at the Théâtre Sévelin 36, since January 2021.

Distribution support: Anna Ladeira - Association Le Voisin
Co-production: Fondation L’Abri (Geneva), le FAR (Nyon), Belluard Bolwerk Festival (Fribourg)

In corealisation with MUCEM.

In co-realisation with Artagon.

You can visit Artagon’s website.
You can also check out their account Instagram.

Old Masters is a middle-aged collective formed by Marius Schaffter (performer and geographer), Jérôme Stünzi (set designer and artist) and Sarah André (author, artist and set designer, aka André André). Since 2014, they have been appropriating and rearranging the most varied discourses, whether banal or expert, whether scientific, political, artistic or everyday. Conceiving theatrical performance as a total plastic work, they create universes with a strong, unusual and radical aesthetic. Using their favourite weapons of the absurd, sincerity, benevolence, irony, beauty, sadness and gentleness, Old Masters invites us to experience, collectively, what freedom could be today, a freedom that is situated, changing and always in search of itself.
The collective’s latest creation, Original Soundtrack, is based on a musical work created for the occasion by Nicholas Stücklin. Old Masters offers a radical stage experience: a collective listening to a sound piece, adorned with a text as a surtitle and strikingly minimalist tableaux vivants. Soundtrack is presented as the manifesto of a small group of beings, both the ultimate post-apocalyptic survivors and post-neolithic ancestors.
In 2020, Old Masters created The World at the Arsenic, a play that simply shows, in three steps, how to build (1) the world, (2) things and (3) words. It was also presented at the Théâtre Saint-Gervais in Geneva and will be featured in the Focus Old Masters at the Centre culturel suisse in Paris in January 2021 with L’impression.
L’impression, created in 2018, is a therapeutic play about life in general, co-produced by the TU - Théâtre de l’usine in Geneva and the Arsenic in Lausanne.
In 2016, Old Masters wrote, published and staged Fresque, a play which, through a simple device and situation, offers the moving story of two individuals and, above all, of a scenic object, the module. The play was selected and presented in May 2018 at the Stückemarkt of the Theatertreffen in Berlin. It will tour again in French-speaking Switzerland during the 2020-2021 season.
Old Masters’ first work Constructionism, created in 2014, is a performative device for the creation, analysis and dissection of objects of study. Constructionism won the 2015 Premio, the Performing Arts Encouragement Award. Since its creation, Constructionism is regularly presented in many festivals, museums or universities, in French, English and German, in Switzerland and abroad.
Old Masters regularly collaborates with different artists: Charlotte Herzig, Jonas Bühler, Nicholas Stücklin, Sofia Teillet, Jérémy Chevalier, Joana Oliveira. The Pâquis production association in Geneva, and more precisely Laure Chapel, skilfully manages it.

Production: Old Masters
Coproduction: TU - Théâtre de l’Usine Genève
Support: Ville de Genève, Loterie Romande, Fondation Nestlé pour l’Art, Ernst Göhner Stiftung, Société des Interprètes Suisses, Fonds d’encouragement à l’emploi des intermittent·e·s genevoi·e·s (FEEIG), CORODIS, Pro Helvetia, République et canton de Genève

In corealisation with Montévidéo.

You can check out the website of Old Masters.
You can also browse their Instagram account.
You can also listen the Soundcloud from the soundtrack.

Harold Boué aka Abstraxion and Lion’s Drums, is a French producer and musician based in Marseille. 
He started to produce music as Abstraxion in 2005, and has so far released a fair amount of EP’s as well as two studio albums (“Break of Lights” on Nicolas Jaar’s label Other People - 2013 & “She Thought She Would Last Forever” on Biologic Records - 2016).  His latest EP “Black Vulture” was released May 2019 on Jennifer Cardini’s label Dischi Autunno, including remixes by Black Merlin and Interstellar Funk. 
In 2018 Harold felt the desire to explore different musical territories and launched Lion’s Drums, which he’s developing in parallel with his Abstraxion project.  Lion’s Drums music is inspired from and pays tribute to the character of his city Marseille: a bit rough though luminous, and influenced by elements of the Mediterranean, African and Northern European cultures.  This translates into heavily percussive sounds, in which tribal disco grooves invoke the spirits of voodoo-techno.  He released a first EP on John Talabot’s label Hivern Discs, which featured a track co-written with Fantastic Man, and made a psychedelic acid remix of “Goca Dunya” by Turkish band Altin Gün.
Harold co-runs Biologic records with partner in crime DC Salas, and has released music by Matisa, ڭليثرGlitter٥٥, Malcolm, among others.  He travels across the globe to perform a hardware live act or dj sets in places such as Pitchfork festival or Berghain/Panorama-bar, and occasionally sharing the decks for wild back-to-back sessions with beloved musical friends such as Roman Flügel, Budino, Bufiman, Chloé, Zozo… 
2021 will see the release of Lion’s Drums debut album “Kagabas”, an audio project and album comprising of new compositions based on field recordings of original songs the Kagabas people sing to wild animals, and the nature they habitat.   A second album will follow on Cocktail d’Amore Music.

Co-production: GMEM, Cabaret Aléatoire
Acknowledgements: Franz K. Florez from Nativa.org
Management Magma: Sebastien Desprez and Julien Gathy
Booking / music scene: Bi:Pole - Gaetan and E314 Agency - Toon
Booking / performing arts: Parallèle - International production centre for emerging artistic practices and Jean-François Mathieu

In corealisation with Montévidéo.

You can visit the website of Lion’s Drums.
You can also browse their account Instagram.

Flora Détraz trained in classical dance and followed literary studies (preparatory classes and a degree in modern literature) before joining the training of the National Choreographic Centre of Rillieux-la-pape, directed by Maguy Marin.
She continued her training at the PEPCC choreographic research cycle, Forum Dança, in Lisbon.
During her career, she had the opportunity to meet, among others, Meredith Monk, Jonathan Burrows, Loïc Touzé, Meg Stuart, Vera Mantero, Diane Broman, who influenced her own research.

Since 2013, she has created choreographic pieces that question the relationship between voice and movement: Peuplements (2013), Gesächt (2014), Tutuguri (2016), Muyte Maker (2018).

Currently, she is also a performer in the performance Bacchantes, prélude pour une purge by Marlène Monteiro Freitas, and assistant choreographer for the piece Anarchismos by Pablo Fidalgo.

Production: PLI
Co-productions: Ramdam-un centre d’art - Lyon, CCN de Caen, direction Alban Richard, Pact-Zollverein, L’Avant-scène, Cognac, La Place de la danse CDCN Toulouse - Occitanie, le réseau des Petites Scènes Ouvertes, CHOREGE - Relais Culturel Régional du Pays de Falaise, Festival Alkantara
Provision of studios: Les Eclats chorégraphiques - La Rochelle, Alkantara - Lisbon, O Espaço do Tempo - Montemor-o-novo.
The Muyte Maker project has received support for the model and the project from the Normandy Region, and support for the project from the DRAC Normandy

In corealisation with KLAP Maison pour la danse.

You can consult the teaser of the play.
You can also browse the website of the company.

Flora Détraz trained in classical dance and followed literary studies (preparatory classes and a degree in modern literature) before joining the training of the National Choreographic Centre of Rillieux-la-pape, directed by Maguy Marin.
She continued her training at the PEPCC choreographic research cycle, Forum Dança, in Lisbon.
During her career, she had the opportunity to meet, among others, Meredith Monk, Jonathan Burrows, Loïc Touzé, Meg Stuart, Vera Mantero, Diane Broman, who influenced her own research.

Since 2013, she has created choreographic pieces that question the relationship between voice and movement: Peuplements (2013), Gesächt (2014), Tutuguri (2016), Muyte Maker (2018).

Currently, she is also a performer in the performance Bacchantes, prélude pour une purge by Marlène Monteiro Freitas, and assistant choreographer for the piece Anarchismos by Pablo Fidalgo.

Production: Aline Berthou - Aoza Production

In corealisation with KLAP Maison pour la danse.

You can consult the teaser of the play.
You can also browse the website of the company.

Emmanuel Eggermont trained in contemporary dance at the Centre National de Danse Contemporaine d’Angers (1999). In 2002, after three years with Carmen Werner in Madrid, he spent two years in Seoul for a project mixing pedagogy and choreography. From there, and from his collaboration of more than ten years with Raimund Hoghe, he draws his attention to “the essence”. He has been developing his choreographic projects since 2007 in Lille with L’Anthracite. With a tangible taste for plastic art and architecture, he has developed a singular style of writing, images with expressionist resonances rubbing shoulders with more performative tones and abstract dance with technical and aesthetic rigour. From 2010 to 2016, he was in research residency at L’L in Brussels. This process led to several pieces, including Vorspiel (2013). In 2014, he was invited by the SACD to participate in Sujets à Vif at the In festival in Avignon. He is also the winner of the Beaumarchais association’s writing scholarship for the solo Strange Fruit created in May 2015 at the FRAC Alsace. In 2019, Le Gymnase | CDCN de Roubaix commissioned him to create a piece for young audiences as part of the Twice programme. 2020 saw the creation of Aberration, a solo piece questioning post-traumatic reconstruction.

Production: L’Anthracite
Co-productions: CCN de Tours direction Thomas Lebrun, ADC Genève, Le Gymnase CDCN Roubaix - Hauts-de-France, La Maison CDCN Uzès Gard Occitanie, Le Tandem Scène Nationale, POLE-SUD CDCN / Strasbourg, Théâtre de Nîmes - scène conventionnée d’intérêt national - Art et Création - danse contemporaine
Aid: DRAC Hauts-de-France, Région Hauts-de-France
Support: SPEDIDAM
Project supported as part of the Etape Danse programme, initiated by the French Institute of Germany - Office of Theatre and Dance, in partnership with the Maison CDCN Uzès Gard Occitanie, the Théâtre de Nîmes - scène conventionnée d’intérêt national - Art et Création - danse contemporaine, la fabrik Potsdam, and Interplay International Festival contemporary dance (Turin) in collaboration with La lavanderia a Vapore / Fondazione Piemonte dal Vivo (Piemonte) and the support of the DGCA - Ministry of Culture and the City of Potsdam.

Emmanuel Eggermont is an associate artist at the Centre Chorégraphique National de Tours, directed by Thomas Lebrun (2019-2023).

With the support of Onda - Office national de diffusion artistique.

In co-realisation with LE ZEF.

You can consult the website of the Anthracite company.

Born in Athens, Katerina Andreou is based in France. She graduated from the Law School of Athens and the National Dance School of Athens, followed the ESSAIS programme at the CNDC in Angers and holds a Master’s degree in choreographic research (Paris 8). As a performer she has collaborated with DD Dorvillier, Anne Lise Le Gac, Lenio Kaklea, Bryan Campbell, Dinis Machado, Emmanuelle Huynh, Ana Rita Teodoro. In her own work she develops a physical practice specific to each project and seeks states of presence that result from a constant negotiation between contrasting or even contradictory tasks, fictions or universes, often questioning notions of authority and censorship. She creates herself the sound environment of her pieces which becomes her main dramaturgical tool. She received the Jardin d’Europe award at the ImpulsTanz festival in 2016 for her solo A kind of fierce. She then created the solo BSTRD (2018) and the duo Zeppelin Bend (2020) with Natali Mandila.

Co-production: Atelier de Paris CDCN, ONASSIS STEGI, Centre Chorégraphique National d’Orléans, Centre Chorégraphique National de Caen en Normandie within the framework of the Accueil-studio, La place de la danse CDC de Toulouse, Ballet de Marseille.
Partners: Ménagerie de verre Studiolab, Kunstencentrum BUDA, Réservoir Danse Rennes, ImpulsTanz Festival (residency Prix Jardin D’Europe) / CN D Pantin (extended residency)/ La CABINE (PAD), Monitor Fest Heraklion.
With the support of ARCADI and DRAC Ile de France
PREMIERE: 5th Young Choreographers Festival, ONASSIS STEGI, Athens

With the support of Onda - Office national de diffusion artistique.

En coréalisation avec le MUCEM.

You can check the teaser of BSTRD.
You can also browse the website of Katerina Andreou.

Steven Cohen was born in 1962 in South Africa and now lives in France. As a performer, choreographer and visual artist, he has orchestrated interventions in public places, in art galleries and on stages, notably for the Festival d’Automne, the Centre Pompidou in Paris, the ImPulsTanz Vienna International Dance Festival, the National Arts Festival in Makhanda, Théâtre du Rond-Point in Paris, Montpellier Danse, Festival d’Avignon, Munich Opera Festival at the Bavarian State Opera, Festival Escena Contemporánea in Madrid, Bozar in Brussels, Oktoberdans Festival in Bergen, Canadian Stage in Toronto… He has also been artist in residence at the Baryshnikov Arts Center and the Center for Performance Research in New York.

In co-realisation with the Ballet national de Marseille.

You can visit the website of Steven Cohen.
You can also browse the website of the Ballet national de Marseille.

In 2015, Maxime Kurvers directed his first production, Pièces courtes1-9, in the form of a theatrical programme that questions the minimal conditions of his own production. Created at the Festival d’Automne in 2016, Dictionnaire de la musique extends this questioning of the theatre and its resources through the presence and history of other media. La naissance de la tragédie (2018) is a solo for and by the actor Julien Geffroy.
Idées musicales (2020) is an experimental musical recital. Created in April 2021, Théories et pratiques du jeu d’acteur (1428-2020) provides a critical reading of the pedagogical tools available to the actor. Maxime Kurvers is an associate artist at the Ménagerie de verre for the 2016-2017 season and at La Commune - CDN d’Aubervilliers since September 2016.

Production : MDCCCLXXI

With the help of the Maison de la culture du Japon in Paris and Morishita Studio - Tokyo, for the use of their research and rehearsal spaces.

With the support of Onda - Office national de diffusion artistique.

In co-realisation with the Antoine Vitez Theater - Le Cube.

You can consult the website of Maxime Kurvers.
You can also consult the website of Théâtre Antoine Vitez - Le Cube.