Campus 2026: Choreographic Laboratory #5

A dance critic, then artistic advisor for various organizations and dramaturge for various choreographers, she taught at the Université Lumière Lyon II (2005-2011) and the Université de Strasbourg (2018-2022). A member of the scientific advisory board of the Dictionnaire de la Danse (dir. P. Le Moal, ed. Larousse, 1999-ed. 2008), she has notably published, with artist Daniel Larrieu, Mémento >1982 > 2012, coeditionActes Sud/Astrakan, 2014; Catherine Diverrès, Mémoires passantes (coedition L’œil d’or, CND,2010).

His creations and research focus on how choreographic gestures can be incorporated into fields that are not specifically artistic or theatrical – in situ practices, pieces with a territorial dimension involving local residents (cf. de terrain et l’usage du monde-le dehors, with inhabitants and refugees, (far° festival, 2016)), or his collaboration with Deborah Hay – with whom he has worked in turn as a performer (“O, O” in 2006), assistant (since 2008), co-choreographer (indivisibilités, in 2011), and more recently as a translator (Mon corps, ce bouddhiste, published in May 2017)), which has enabled him to observe how textual writing is deployed as a tool for documenting and transmitting the danced gesture.
In 2017, in resonance with his own work as a choreographer, and as a new stage in this collaboration, Laurent Pichaud began a creative thesis at the dance department of the University of Paris 8 on the subject: Faire de l’in situ dans l’œuvre de Deborah Hay (Doing in situ in Deborah Hay’s work).
Laurent Pichaud has received various grants for his research into the work of Deborah Hay. Two grants from Aide à l’écriture et au Patrimoine en danse from the CND, Pantin, and one from La Manufacture.

Frédéric Cellé trained at the Conservatoire National Supérieur de Musique et de Danse de Lyon. He worked as a performer at the Grand Théâtre d’Ireland for the revival of Dominique Bagouet’s “Désert d’amour”, then in the companies of Marie Coquil, Nathalie Collantès, La Camionetta (F. Ramalingom and H. Cathala), Dominique Boivin, Denis Plassard, Joanne Leighton, Dominique Guilhaudin, Isira Makuloluwe and Sylvie Guillermin.

In 2002 he founded the company Le grand jeté! and in 2011 the Festival Cluny Danse. With Annick Boisset, he co-directs the association Le grand jeté! Frédéric Cellé has created some twenty choreographic works, from solo to septet, tours his repertoire in France and Europe, and has taken on several commissions or reworkings of the repertoire, notably for the CNSMD in Lyon. Frédéric Cellé is a dance expert for DRAC BFC, a member of the Board of Directors of Espace des arts and L’arc-scène nationale Le Creusot, a jury member for the Bac danse exam in Dijon, a jury member for the Temps Danse competition in Yzeure, a referent for Art Danse teaching at Lycée Pontus in Chalon-sur-Saône, a referent for the culture college for EPIC du Clunisois, and a mentor for young people in emerging professional companies. He is committed to making art accessible to all. More recently, he has been working with the French institutes in Gabon and Benin to develop and pass on his choreographic art. The company’s latest creations are inspired by the aesthetic current of “Dancenfloor work” and propose a physical dance that explores acrodance as a sensitive language. This style of dance, which is particularly physical for the performers, is also stimulating for the spectator’s eye. Today, his artistic work explores the themes of “solidarity” and “inclusion”, notably with the “Tous en jeu” project he has been developing for several years for disabled teenagers with the Conseil Départemental de Saône-et- Loire and the Scène Nationale de Chalon-sur-Saône, and thus questions the notion of “living together”. Frédéric Cellé created an “inclusive” dance teaching kit at the request of the Saône-et-Loire department, and offers training courses for dance and disability trainers.

While developing his work on falling, Frédéric Cellé draws inspiration from the world to explore human feelings, and his set designs project artists and audiences into fantasized contemporary landscapes. Drawing on his commitment to the arts, he plays on notions of resistance and abandonment to invent choreographic situations, explore our societies, seek out what drives our behavior and develop the art of bouncing back.

Frédéric Seguette began dancing in Bordeaux in 1983 with choreographer and teacher Sylvie Tarraube Martigny, whose company he joined the following year. After a year’s training at the Centre National de Danse Contemporaine in Angers (1985/1986), he took part in numerous creations as a performer with choreographers Jacky Taffanel, Jacques Patarozzi, Stéphanie Aubin, Daniel Larrieu and Angels Margarit. From 1994 to 2004, he collaborated with choreographer Jérôme Bel on all his creations, from Nom Donné par l’Auteur to The Show must go on 2. At the same time, he worked with choreographer Xavier Le Roy on several of his creations: Xavier Le Roy (2000), Project and Le Théâtre des Répétitions (2003).he is the author of two choreographic works: Frédéric Lambert, premiered at the Festival d’Avignon (2004), as part of the “Sujet à Vif” program, and Same Same But Different, created for the La Batie festival in Geneva (2005). In 2007, he decided to “break out of the black box” and created the Plastique Danse Flore festival at the Potager du Roi in Versailles, in collaboration with the École nationale supérieure de paysage. The idea was to give a new direction to his artistic career by reconnecting it with the living, sensitive world, and to support choreographic and visual artists who invest other creative spaces, particularly gardens and natural areas. At the same time, he continues to work as a performer and artistic collaborator. In 2012, he took part in the project 20 danseurs pour le XXème siècle initiated by choreographer Boris Charmatz at the Musée de la Danse in Rennes, and repeated in Berlin (2014) and at the Tate Modern in London (2015). In 2014, he took part in the Xavier Le Roy retrospective exhibition presented at the Centre Pompidou in Paris as part of the Nouveau Festival. In 2015 he reunited with Jérôme Bel, as a performer, for his creation Gala presented in various theaters in the Paris region as part of the Automne Festival, and assisted on the re-creation of this show with local professional and amateur performers at the invitation of numerous international festivals. In 2015, he initiated the creation of the Nos Lieux Communs network, which brings together a dozen cultural structures across France whose activities are mainly based in natural spaces and remarkable gardens. Together, they set up the Nomades program, a multi-site residency program for site-specific creations. In January 2019, he took over as director of the Centre de développement chorégraphique national Dijon Bourgogne Franche-Comté, which he renamed Le Dancing, and with which he is driving a new territorial dynamic around situated creation. On this occasion, Frédéric Bonnemaison, creator of the Entre cour et jardins festival, passes on to him the destiny of his festival.

After a career as a dancer-performer and choreographer, he completed an initial training course at the Ecole Nationale Supérieure du Paysage de Versailles between 2004 and 2008. Between 2009 and 2011, he was in charge of the Jardins Passagers (ecological and educational garden in the Parc de la Villette). Since then, he has worked as a contractor, designing gardens, landscape studies and conferences for private and public clients
Vincent Lahache also co-founded the Plastique Danse Flore festival with Frédéric Seguette, and has been assisting the artistic director of this event since 2007.

After dancing for a variety of choreographers and collectives, in 2009 she created her first intimate solo, initiating a sensitive exploration of space, interpretation and presence. Her choreographic writing develops between precise frameworks and instant availability, between image construction and attention to spatial relationships.

His pieces question the formats and devices of performance, taking on theatrical stages as well as atypical or heritage venues, sometimes without equipment, or open-air spaces. These creations are aimed at a wide range of audiences, from young children to seasoned spectators, adapting to the context to offer tailor-made forms. She sees each project as an encounter between a body, a place and an audience.

From his first solo À l’endroit…, where the stage was reduced to 2×2 meters, to his more recent creations (RITES, Fragments, Charcoal, Parades et métamorphoses), the question of space remains central: constrained or open space, shared space, imagined space, designed space, put into play. Today, this exploration extends to issues of landscape, perception, habitation and transformation, articulating the sensitive, aesthetic and political dimensions of spatiality.

With her company Pièces Détachées, she develops a work of porosity between stage space and in situ contexts. Her creations engage the body in a dynamic relationship with materials, set designs or sculptures, giving rise to unstable, fragile or immersive choreographic environments.

Alongside her creative work, Caroline teaches widely: to students from kindergarten to high school, amateur dancers, children’s professionals, as well as in higher education contexts. She teaches at the University of Besançon (Performing Arts, DEUST) and at the Coline professional training center in Istres.

Pauline Chevalier is Professor of Contemporary Art History at the University of Tours. After working on the American art scene of the 1970s ( A history of alternative spaces in New York, from SoHo to the South BronxLes presses du réel, 2017), then on dance in museums (The museum on stageEditions Deuxième Époque, 2018, co-edited with Aurélie Mouton-Rezzouk and Daniel Urrutiaguer), she led a long-term research program on graphic practices in dance (notebooks and drawings by performers and choreographers, manuals and technical dance iconography) at the Institut national d’histoire de l’art (2018-2025), in collaboration with the Bibliothèque nationale de France and the Centre national de la danse. She curated the exhibition ” Choreography. Drawing, dancing (17th – 21st c.) “She also exhibited at the Musée des Beaux-Arts et d’Archéologie de Besançon and edited the catalog (INHA / MBAA / Liénart). Her research focuses on the relationship between dance and the visual arts, both through drawing, in the graphic shaping of bodily techniques, and through the places that enable these practices to converge.

Initially trained in theater, Volmir Cordeiro has collaborated with renowned Brazilian choreographers such as Alejandro Ahmed, Cristina Moura and Lia Rodrigues. In 2011, he joined the “Essais” training program at the Centre National de Danse Contemporaine d’Angers, where he obtained a master’s degree in performance and creation.

In Europe, Volmir has participated in works by renowned choreographers and artists, including Xavier Le Roy, Laurent Pichaud & Rémy Héritier, Emmanuelle Huynh, Jocelyn Cottencin, Vera Mantero, Nadia Lauro & Zenna Parkins, Lâtifa Laabissi, Rodrigo Garcia and Robyn Orlin.

As a choreographer, he created a first cycle of work consisting of three solos: Ciel (2012, CNDC d’Angers), Inês (2014, Festival Actoral, Marseille) and Rue (2015, Musée du Louvre, in collaboration with FIAC). In February 2017, he presents L’œil la bouche et le reste, a piece for four performers created in Brest, accompanied by a video exhibition on the poetics of the face in the history of dance, in collaboration with the Centre d’Art Passerelle and the 40th anniversary of the Centre Pompidou.

In 2019, Volmir creates Trottoir, a piece for six performers presented at the Festival Actoral in Marseille and the Festival D’Automne in Paris. In 2021, he presents the duo Métropole with percussionist Philippe Foch at the Festival D’Automne. In the same year, he created the solo Outrar for the Kunstenfestivaldesarts, at the invitation of Lia Rodrigues.

The Outrar and Rue projects were presented at Royaumont.

In 2022, with Érosion, a creation for the dancers of the CCN – Ballet de Lorraine in Nancy, Volmir revisits the Ballets Suédois, a Dadaist troupe based at the Théâtres des Champs-Elysées between 1920 and 1925. He also performed an excerpt from L’œil la bouche et le restefor Cie Catalyse, a troupe of disabled professional actors, as part of the Vignette(s) project directed by Bernardo Montet.

In 2023, Volmir created Abri, following a residency at Royaumont. Abri is a piece for eight performers, including a bassophonist, as part of the Biennale du Val de Marne in Vitry, and Queimada, a creation for thirty-three performers from the University of Poitiers, in collaboration with the TAP-Théâtre Auditorium de Poitiers. In 2024, he signs Archive Terrestre, a piece for sixty students from the Conservatoire National Supérieur de Musique et Danse de Paris, as well as ABCTERRE, a creation for twenty-two students from the ABC Atlantique Ballet Contemporain of the Conservatoire de Musique et Danse de l’agglomération de La Rochelle. In 2025, he presents Parterre, a creation for five performers as part of the Festival d’Automne with CDCN La Briqueterie.

Volmir Cordeiro’s choreographic work is characterized by a profound exploration of human emotions and social dynamics, often through interdisciplinary collaborations. His creations are marked by a constant search for new forms of expression, blending movement, sound and visuals to create immersive experiences. Her artistic approach, both innovative and rooted in tradition, seeks to push back the boundaries of contemporary dance.

Volmir regularly teaches at choreographic training schools such as Master Exerce (ICI-CCN Montpellier, France), Master Drama (Kask, Ghent, Belgium), PARTS in Brussels, at the Ménagerie de Verre and as part of the Camping festival at the Centre National de la Danse in Pantin. He has also been a visiting professor at Bard College in New York. He is the author of Ex-Corpo, a book devoted to the figures of marginality in contemporary dance and the notion of the artist-researcher, reflections in continuity with the thesis he defended at Paris 8 University in November 2018.

Her Compagnie Donna Volcan, supported by the DRAC, sees the volcanic as the foundation of creation: earth, fire, air and the vital impulse.

version n°1 dated 05/19/2025
Validity of version n°1: 1 year renewable

Course description/content of the training

The entire program has been designed with a pragmatic pedagogical approach. This new one-session program will combine theoretical and practical approaches, in the form of hands-on workshops, creative phases, meetings, lectures and real-life situations.

Number of traines minimum / maximum

Minimum number of members: 12 choreographers or artists from the performance field
Maximum number of members: 16 choreographers or artists from the performance field

Educational objectives

Knowledge

• A critical approach to the cultural history of dance at the crossroads of the ^20th and ^21st centuries – transformation of contemporary aesthetics and writing.
• Cultivate a taste for reading works – open up interpretative avenues linked to your own project.
• Recognize and understand the different imaginary worlds and beliefs of choreographers – the sources and currents with which they identify – filiations and ruptures.

Expertise

• Question and construct your own dance practice through the experience of an identified repertoire. What knowledge is required? What tools are needed?
• Practical conditions and strategies for implementing a choreographic project.
• Question your own writing when addressing audiences and occupying a space not dedicated to dance.

soft skills

• Be both autonomous and responsible in your work. Curious and generous towards others, so as to get involved in a collective project.
• Find your place in a team and be able to open up a collaborative and creative dialogue with the whole workgroup.
• Share your experience in implementing the project and get involved in its mediation.
• To be able to understand what is at stake between ourselves, others and the world, so that each and every one of us can identify not only our environment, but also the elements that underpin our individuality.
• Creating the right environmental conditions from an individual, social and emotional point of view. Our intimate beliefs, our family or professional contexts, our horizons of expectation are all filters that impose our limits and distance us from our potential. How can we overcome these limits?
• To be able to constitute ourselves as individuals capable of acting on and working on our capacities for adaptation and choice, whatever our age, experience or expertise.

Targeted competencies / operational objectives

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

• Question your own writing practice
• Imagine new ways of relating to and dialoguing with all employees when building a project.
• Explore the knowledge required and the tools needed to compose a choreographic project in relation to different spaces.
• Think about where and how to meet the public.
• Adapting a choreographic work from the stage to the public space?

Methods used

• Theoretical and practical group classes given by choreographers.
• Rehearsals and research time for beneficiaries without supervisors to reinforce autonomy in work
• Meetings with the educational advisor to discuss the beneficiary’s career path.
• Joint time with beneficiaries of other training courses (singers, musicians, performers, composers, etc.)

These 18 days of sharing will bring together guests from a wide range of backgrounds: choreographers, performers, venue directors, researchers, landscape architects…

We propose :

• Participate in workshops to experiment and experience
• Attend lectures to learn more
• Take part in round-table discussions to exchange and compare points of view
• Contribute to the programming and implementation of performances based on the themes addressed.

Monitoring and evaluation methods

During the course, face-to-face

• Evaluation of the beneficiary’s reactivity and ability to integrate the suggestions made by the consultant.
• Feedback from public presentations/performances

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

At the end of training

The trainee receives a certificate at the end of the course, stating the objectives, nature and duration of the action, and the results of the assessment of the training acquired, as well as the certificate where applicable.

Performances outside the training framework enable us to follow the career development of the artist and his ensemble after the training courses, and in particular to evaluate the quality of the performance and the number of shows 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 set up, for which trainees are asked to inform us of any contracts they have obtained within six months of the end of the training course.

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.

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