Campus 2027: The Choreographic Laboratory #6

A pioneering figure in depicting humanity’s growing influence over the natural world, the Anthropocene, Fabrice Lambert’s work is distinguished by its undeniable ecological awareness. He explores the fate of humankind through an examination of its place in the cosmos and its place on Earth.

A visual artist of movement, he conceptualizes the space of bodies. Through his emblematic relationship with light, he traces the extension of danced gestures by working on the notion of the body as landscape, giving life to the fundamental equation between nature and humanity.

A writer of dance, he creates a subtle, precise, and meticulously crafted choreographic score that allows the force of energy to unfold. He seeks to unite the everyday and the extraordinary, the natural and the mechanical, the intimate and the collective. Today, as our minds are preoccupied with our futures, his work gives us hope and nourishes us.

After training at the National Centre for Contemporary Dance in Angers, Fabrice Lambert performed with the Kubilai Khan Investigations collective, the Carolyn Carlson company, and with Catherine Diverrès at the National Choreographic Centre of Rennes for several years, then with François Verret, Emmanuelle Huynh and Rachid Ouramdane.

Since 2000, he has structured and provided artistic direction for L’Expérience Harmaat, within which he continues his research and creative work. This space is defined as a meeting point, bringing together creators from different disciplines around the choreographer’s projects. Their common ground is to question, each within their own field, the notions of phenomenon and movement.

Visual artists, video artists, engineers, and dancers thus participate in the creation of numerous pieces: No Body, Never Mind and TOPO (2001) are two parts of a research project on the perception of the body and its manipulation through imagery. Seven creations followed at the Rencontres Chorégraphiques Internationales de Seine-Saint-Denis: Le Rêve (2002) captures the essence of this questioning through the juxtaposition of a film and a solo in the form of a dialogue using the same material: the performer’s body. Play Mobile (2003) explores the boundaries of this same body in an enveloping sound installation, an enclosed space that confronts it with its limits. Imposture (2004) is a piece for two performers and a video artist, revisiting an idea by Paul Virilio on total accident. These were followed by Frédéric Lambert (2004 – commissioned by SACD / Le Sujet à Vif), Abécédaire (2005), meutes (2006), Gravité (2007), D’Eux (2008), Virga (2009 – commissioned by SACD / Le Vif du Sujet), Solaire (2010), Rites of Memory (2011 – commissioned by Ahn Aesoon Dance/Korea), and Faux Mouvement (2012). The subsequent work, Nervures , is a collaboration with visual artist Xavier Veilhan and premiered in November 2013 at the Centre national de la danse, then revived in January 2014 at the Théâtre de la Ville – Paris, which has regularly hosted his work since 2012.

Jamais assez (Never Enough) , a piece for 10 dancers, premiered in July 2015 at the Avignon Festival, and was subsequently presented at venues including the Centre Pompidou – Paris and the Festival TransAmériques – Montreal. Today, Sauvage (Wild ), a piece for 7 dancers and 1 musician, premiered in September 2018 at the Lyon Dance Biennale, and was subsequently presented at venues including the Centre Pompidou – Paris. Seconde Nature (Second Nature) , a quartet in collaboration with Jacques Perconte, premiered in 2020 at the Théâtre de la Ville – Paris. Next came Epurrs , a Krump piece created for Cyborg and Wolf in 2021, which was widely performed in France and abroad before giving way in 2025/26 to a diptych on ocean currents: Renverse (Reversal) (a piece for 8 dancers) at the Val de Marne Biennale and La vitesse de l’eau (The Speed ​​of Water ) (a female trio) at Avignon/CDCN Les Hivernales.

Fabrice Lambert was an artist in residence at the National Dance Centre in Pantin from 2012 to 2015. He has since been an associate artist at the Comédie de Clermont-Ferrand, a national stage, from 2016 to 2018, at the Maison de la Musique in Nanterre, a subsidized stage, from 2018 until 2022, at the Centre des Bords de Marne in Le Perreux-sur-Marne, from 2020 to the end of 2023. He becomes an associate artist at the Centre des arts d’Enghien-les-Bains, a subsidized stage of national interest “art and creation” in September 2023 for 3 seasons. From 2026, he will be the first associate artist in dance of the Royaumont Foundation for a period of three years.

Anne-Laure Sahy practices facilitation and new dramaturgy. In 2006, she founded Prélude, a hub for coordinating cultural activities in prisons, for which she conceived, produced, and disseminated around ten projects involving collaboration between artists and inmates. From 2007 to 2013, she was co-director of Théâtre 2.21 in Lausanne. She then worked with choreographers, performers, directors, visual artists, and documentary filmmakers on their dramaturgy projects. In parallel, she has worked as a producer, writer, and translator in various artistic fields.

Since 2021, she has been the director of AVDC – the Vaud association for contemporary dance. In this role, she initiated various projects for professionals, including the ddd network for sharing practices – dramaturgy, dance, dialogue – and edited the collective work Incorporer, Dramaturgies en danse contemporaine (Incorporate, Dramaturgies in Contemporary Dance ). In 2022, she trained in collaborative dynamics facilitation.

In her work with various companies and theaters, she proposes situated, collaborative, iterative, experimental, and embodied contemporary dramaturgy processes. She regularly offers training and workshops on new dramaturgies, participatory feedback, and collective organization. She is currently training to teach Qi Gong.

Guy Cools is a dance dramaturg. From 1990 to 2002, he was head of dance programming at the Vooruit Art Centre in Ghent and programmed for numerous international festivals, conferences, and research workshops. As a dance dramaturg, he has worked with, among others, Jean Abreu (UK), Koen Augustijnen (BE), Sidi Larbi Cherkaoui (BE), Danièle Desnoyers (CA), Alexander Gottfarb (AT), Lia Haraki (CY), Akram Khan (UK), Joshua Monten (CH), Arno Schuitemaker (NL), and Stephanie Thiersch (DE).

With Canadian choreographer Lin Snelling, he developed an improvised performance practice called Rewriting Distance, which integrates movement, voice, and writing. Guy Cools is recognized for his work as a mentor in choreography and dramaturgy. From 2013 to 2015, he worked with the Dance and Dramaturgy project in Switzerland. Then, from 2018 to 2020, he was a mentor at the Venice Biennale Dance College, and from 2019 to 2022, he also mentored as part of the Atlas training program at the ImpulsTanz Festival in Vienna.

He has taught at various higher education institutions and art schools in Europe and Canada. Since December 2022, he has been a professor in the dance department at UQAM in Montreal. Among his most recent publications are *In-between Dance Cultures: on the migratory artistic identity of Sidi Larbi Cherkaoui and Akram Khan* (2015), *Imaginative Bodies, dialogues in performance practices * (2016), and Performing Mourning. Laments in Contemporary Art (2021).

Through her choreographic and theatrical creations, as well as her performances, installations, texts and videos, Ivana Müller explores the poetics of language, questions the notions of body, movement and voice as well as their modes of representation, revisits the place of imagination and the imaginary, and questions the very idea of ​​participation.

In an experimental, radical, and formally innovative approach, she often develops forms of social choreography, featuring communities or groups reflecting on their relationship with the environments and territories they inhabit. The notion of collective and collaboration also occupies a central place in her artistic practice. She regularly works with artists, theorists, writers, gardeners, and other practitioners, integrating dialogue, conversation, and various forms of collective writing into the creative process.

The relationship to voice and language constitutes another fundamental axis of her work. By taking the formal aspects of language, its syntax and its rules as choreographic principles, she has developed several works that question the notion of convention and the different ways of embodying it.

Although she creates in a variety of media, theatre remains the primary setting in which she develops and presents her work. Over the past twenty-five years, she has created around thirty works, which have been produced and presented at numerous festivals and theatres in Europe, the United States, Brazil, and Asia. Her work has also been shown in the context of visual arts, notably at the 2015 Venice Biennale (International Exhibition, Central Pavilion).

As part of her practice, Ivana Müller also organizes artistic and discursive encounters as well as collaborative projects. She teaches regularly, notably at the Piet Zwart Institute in Rotterdam, the Institute for Applied Theatre Studies in Giessen, Paris 8 University, the Zurich University of the Arts (ZHdK), SODA–HZT Berlin, PARTS in Brussels, Exerce / ICI–CCN Montpellier, and DAS Theatre in Amsterdam.

Ivana Müller was born in Zagreb and grew up between Croatia and Amsterdam. She lives in Paris and develops her work internationally.

Élise Simonet lives in Paris and works alongside numerous performing artists as a dramaturg and artistic collaborator (Thibaud Croisy, Anne-Sophie Turion, Halory Goerger, Emilie Rousset, Dominique Gilliot and Valérie Mréjen, the Aquaserge group, Anouck Hilbey, Antoine Cegarra, Maya Boquet, Marie Losier, Simon Feltz). A member of the Encyclopedia of Speech group since 2013, she develops her research on orality there. She is the artistic collaborator of Joris Lacoste on the Choral Suites cycle and co-authored the multiple international versions of Jukebox (Gennevilliers, Saint Petersburg, Rome, Conakry, Geneva, Ouagadougou, Thessaloniki).

She co-programmed the 2015 and 2016 editions of the TJCC festival with Joris Lacoste at T2G (Gennevilliers). Since 2017, she has led Converser, a project of conversations with polyglots, combined with a set of illustrated cards; in this project, she explores languages ​​in their intimate and public use (Brussels, Fribourg, Strasbourg). As a dramaturg, she has been invited to the Dramaturgy Clinics by Jessie Mill at the FTA (Montreal), to 1:1 by Sarah Israel at the PAF (Berlin), and co-organized the Dramaturgy Clinics at the Short Theater Festival (Rome) with Riccardo Fazi and Jessie Mill. Since 2021, she has expanded her activities to include teaching: she leads a dramaturgy seminar at La Bellone (Brussels) and teaches students in the Master’s program in Scenography at La Cambre (Brussels).

Maya Masse, aka “Babygirl Wrestler,” “aka Feelingz,” is a contemporary dancer and choreographer, krumper, and fasciatherapist. She studied dance at the CNSMD in Lyon in 2011 and fasciatherapy at Body Mind Academy, where she earned a diploma in perceptual pedagogy and fascial release in 2024. She has performed in works by Akram Khan, Raphaelle Boitel, Karim Bel Kacem & Maud Blandel, Liz Santoro & Pierre Godard, Emilie Pitoiset, Cindy Van Acker, Christian Rizzo, Maud Blandel, and Gisèle Vienne. She began krumping in 2021 and met Wrestler, who became her mentor: she became Babygirl Wrestler. Bullet Time is her first piece, co-created with Wrestler, Louis Schild, and Caty Olive, and the first creation of the Krasse project, a research and creation project where krump, Body-Mind Centering® and fascia therapy practices, and revolutionary decolonial feminist thought and action movements converge. The aim is to imagine together, from our bodies, a different, better future. She is collaborating again with Wrestler for their next 100% krump choreographic creation: Hype Is Murda, HIM .

Julien “Wrestler” Adjovi is a key figure in the French krump scene. An activist in his discipline for over 17 years, he began in 2009 after seeing the film Steppin’ , and his talent allowed him to quickly progress and launch his career. From there, projects and opportunities followed one after another. In 2017, he created his own organization and launched his eponymous event, “Krumpfest,” a gathering and platform dedicated to promoting krump culture and its artistic and choreographic development, aiming to open the discipline to a wider audience and connect it with other artistic practices.

Since then, Wrestler has continued to explore and captivate audiences through the workshops, performances, and events he organizes, where he excels both as an artist and as an emcee. His style is distinguished by the skillful alternation between fluidity and power, giving his krump an unpredictable versatility that he calls “Heavy Fluidity.” The name “Wrestler,” meaning wrestler or wrestler in French, was inspired by the growing popularity of the sport in the United States. He also draws the name from the notion that life is a constant struggle to keep one’s head held high, to succeed, to remain happy and grateful, and therefore to “struggle.”

Originally from Rwanda, Dorothée moved to England with her family in the summer of 1994, at the age of 12. She studied music at the Jonas Foundation (London) and social sciences in Canterbury, before settling in France. In 2006, she met François Verret, and they collaborated on *Sans retour *, *Ice* , *Cabaret* , and *Do you remember, no I don’t *. She subsequently worked with Alain Buffard, Alain Mahé, Stéphanie Coudert, Ko Murobushi, Rachid Ouramdane, Maud Le Pladec, Jean-François Pauvros, Radouan Mriziga, Maya Mihindou, and Ben LaMar Gay.

In 2013, she founded her company, Kadidi, in Marseille. This led to the creation of Samedi Détente (created in November 2014 at the Théâtre de Nîmes), Unwanted (created in July 2017 at the Avignon Festival), Mailles (created in October 2020 at Charleroi Danse), Toi, moi, Tituba… (2023), umuko (2024), and Version(s) (2025), as well as a series of in-situ performances.

In 2020, Dorothée Munyaneza translated Kae Tempest’s (formerly Kate Tempest) Hopelessly Devoted from English, published under the title Inconditionnelles by L’Arche Éditeur, which she directed in the fall of 2024 at and with the Bouffes du Nord theater. Through music, song, dance, and text, Dorothée Munyaneza starts from reality to capture memory and the body, to give voice to those silenced, to make the silences heard, and to reveal the scars of history.

An artist associated with Théâtre la Ville – Paris from 2018 to 2021, Dorothée is now associated with Théâtre National de Chaillot and with Maison de la Danse and the Lyon Dance Biennale, and was in residence at the Camargo Foundation from 2022 to 2024.

In 2024, she received the Salavisa European Dance Awards at the Gulbenkian Foundation in Lisbon.

After an experience as a performer, Mathilde Monnier became interested in choreography early on.
From 1994, she took over from Dominique Bagouet for 20 years as head of the national choreographic center of Montpellier Languedoc Roussillon :
Creations at the CCN in Montpellier: she has created more than 40 shows, including Pour Antigone, Déroutes , Les lieux de là , Surrogate Cities , Soapera, Publique, La place du singe, 2008 Vallée, Tempo 76 , Gustavia, and others, which have been performed on major international stages and at festivals. She explores the deconstruction of choreographic conventions and opens her work to numerous interdisciplinary collaborations (music, film, visual arts, literature, etc.).
During her time as director of the CCN in Montpellier from 1994 to 2013, she opened the doors of the CCN and created the first invitations and artist residencies, the Exerce master’s program in choreography, and set up large, free public events.
From January 2014 to June 2019, she took the helm of the CN D Centre National de la Danse in Pantin, the only public establishment for dance , where she created unmissable events: Camping, Artistic Occupation (Canal), special edition, the health studio.
In September 2020, she became an associate of Halle Tropisme in Montpellier and continued her work as a freelance choreographer. She created Records (2021), Black Lights (2023) (winner of the 2024 award for best show of the year) and Silence (2026) with Lucie Antunes.
Prizes and awards:
Minister of Culture Prize at the Bagnolet Competition in 1983 | SACD Grand Prize in 2002 | Awarded Knight of the Legion of Honour in 2013, and Officer in 2025 | Order of Merit in 2019 | Critics’ Prize for Best Show for Black Lights in 2024

Version #1 of 03/09/2026
Validity period of version no. 1: 1 year, renewable

Course description/content of the training

Week 1	Maps and histories of dramaturgical practices Fabrice Lambert: educational advisor and choreographer Anne-Laure Sahy: educational advisor and playwright Doriane Trouboul: Educational Coordinator, Facilitator Elise Simonet: workshop “Conversation as a dramaturgical practice” Ivana Muller: Dramaturgy of Movement, Body and Objects	This week is led by the pedagogical coordinator and the instructors from week 1, in a group coaching format. We will offer the following: > Participate in workshops to experiment and test. > Attending lectures and presentations to learn. > Participating in roundtables to exchange and compare our points of view. > Contribute to the implementation of situated performance.
Week 2	Dramaturgy, composition and creative process Fabrice Lambert: educational advisor and choreographer Anne-Laure Sahy: educational advisor and playwright Doriane Trouboul: Educational Coordinator, Facilitator Maya Masse and Julien “Wresler” Adjovin: Workshop “Krump x Body Mind Centering” Dorothée Munyaneza: text, voice and politics	This week is led by the pedagogical coordinator and the instructors from week 2, in a group coaching format. We will offer the following: > Participate in workshops to experiment and test. > Attending lectures and presentations to learn. > Participating in roundtables to exchange and compare our points of view. > Contribute to the implementation of situated performance.
Week 3	Dramaturgy as a relational practice and collective organization Fabrice Lambert: educational advisor and choreographer Anne-Laure Sahy: educational advisor and playwright Doriane Trouboul: Educational Coordinator, Facilitator Guy Cools: “Open dramaturgy: a paradigm shift” Choreographer (to be confirmed)	This week is led by the pedagogical coordinator and the instructors from week 3, in a group coaching format. We will offer the following: > Participate in workshops to experiment and test. > Attending lectures and presentations to learn. > Participating in roundtables to exchange and compare our points of view. > Contribute to the implementation of situated performance.

Number of traines minimum / maximum

Minimum number of participants: 10 choreographers, or artists from the field of performance
Maximum number of participants: 12 choreographers, or artists from the field of performance

Educational objectives

Knowledge

• Understanding the history and evolution of dramaturgical practices in contemporary choreographic arts.
• Identify the different functions of dramaturgy in the creative process.
• To understand the concepts of composition, relationship, circulation and collective organization specific to contemporary dramaturgy.

Expertise

• To mobilize dramaturgical tools in the development of a choreographic project.
• Analyze the relationships between gestures, materials, spaces, temporalities and contexts.
• Develop collaborative methods that promote collective intelligence and the circulation of knowledge.
• Developing a critical perspective on one’s own artistic practice.

soft skills

• Cultivating listening, observation and the ability to engage in dialogue within a creative process.
• Develop a reflective stance towards one’s artistic choices.
• To participate in a collective dynamic of research and transmission.

Skills targeted / operational objectives

At the end of the training the beneficiary will be able to :

• To mobilize dramaturgical tools to support a creative process.
• To question and explain the artistic stakes of a choreographic project.
• To build collaborative methods adapted to the contexts of creation.
• To articulate intuition, sensory experience, and critical reflection.
• Develop a compositional practice that is attentive to the relationships between the different elements of a work.
• Identify the place and functions of dramaturgy in one’s own artistic work.

Methods used

• Dramaturgical analysis workshops for projects and creative processes.
• Case studies based on contemporary choreographic works.
• Collective experiments around composition practices and dramaturgical support.
• Interviews, readings and critical discussions about the artistic practices of the participants.
• Evaluations of the training outcomes from an artistic, pedagogical, human and material point of view.

Monitoring and evaluation methods

During the course, face-to-face

• Evaluation through practical work by the beneficiary, their responsiveness and their ability to integrate the proposals made by the speaker.
• Feedback following public presentations/performances

The beneficiaries sign a sign-in sheet for each half-day.

At the end of training

A certificate of completion of the internship, stating the objectives, nature and duration of the action and the results of the assessment of the skills acquired during the training, is given to the intern as well as the certificate where applicable.

Performances outside the framework of training allow us to follow the evolution of the artist’s career and their ensemble downstream of the training, and in particular to evaluate the quality of the performance as well as the number of performances given.

Qualitative assessment methods

The trainee fills in a qualitative evaluation form to assess the artistic, pedagogical, human and material aspects of the training.
A post-training follow-up is established, for which trainees are asked to inform us within six months of the end of the training of the contracts they have obtained.

Accessibility and consideration of disability situations

The Royaumont Foundation has made the acceptance and participation of people with disabilities a strong commitment to its project. Our training courses are open to people with disabilities and different arrangements can be made according to the specificities of each course. To discuss your needs, please contact us when you register, or get in touch with our disability advisors.

---

Contact