Soirée double programme

Nina Santes / Mylène Benoît


Nina Santes
Soa de Muse
Nanyadji Ka-Gara
Nina Santes
Betty Tchomanga,
Lise Vermot
Light design
Annie Leuridan
Célia Gondol
Vocal Coach
Jean-Baptiste Veyret-Logerias
Olivier Normand
Assistant Art Director
Lynda Rahal
Research Assistant
Camille Ducellier





Mylène Benoit
Artistic Collaboration and Assistant
Magda Kachouche
Performed by 
Célia Gondol
Live Music
Nicolas Devos,
Pénélope Michel (Puce Moment / Cercueil)

Thu 15 and Fri 16 February
8:30 p.m.

Estimated Evening Time

10 € to 20 € - Discovery Pass 12 €
One ticket = two shows


American, eco-feminist, and neo-paganist movements have breathed new contemporary life into the figure of the witch. Women today invent rituals when they need to produce collective power. Nina Santes took a researcher along and went to meet some of these pioneers. As a choreographer, she imagined her body itself as a vector of otherness. The figure of the witch haunts this perspective. She envisions it as a form of becoming. Each individual could contain her own witch in the making. This is a far cry from folk legend’s attribution of a fixed and more or less demonic heritage. With five dancers, the piece Hymen Hymne sets into motion a way of producing otherness inside oneself, at odds with an established order. It develops as a dance concert, but also a musical, spoken and sung one. The written word also has a role to play. Through magic-political practices, present-day witches have a lot in common with queer action. This spoken, danced and sung concert for five performers operates at the crossroads of documentary research and ritual magic.

Production La Fronde
Coproduction Le Phare/Centre chorégraphique national du Havre Haute Normandie • Le Musée de la Danse/Centre chorégraphique national de Rennes •
Atelier de Paris / CDCNCCNO/Centre chorégraphique national d'Orléans • Fonds de dotation du Quartz-Scène nationale de Brest
Partenaires Théâtre des Brigittines, Bruxelles
Avec le soutien de la DRAC Ile-de-France • ARCADI, de l'ADAMI • Spedidam




Tics or behavioral changes manifest themselves through involuntary gestures that escape the codification of body language. Should we consider them as just abnormal ? Or rather explore the novel coordination, musicality and temporalities that lurk within? In La Maladresse, Mylène Benoit choses this second option. In this choreographer’s work, dance has visual resonance, in so far as it is connected to a fine network of perceptive activations: light sources, sound, text, physical manifestations – which make up this stage phenomenon. The result pushes the limits. While in residence at the Villa Kujoyama in Kyoto, Mylène Benoit observed the highly-codified control of the Japanese over the body and its uses. It occurred to her to put that quality in tension with involuntary gestures, which she and her long-time dancer Celia Gondol are drawn too. A second “Japanese” solo performed by Kan Ichi Segawa is expected.

production Contour Progressif
coproduction et partenariats Le Phare, CCN du Havre Normandie • L’Échangeur, CDC Hauts-de-France • Le Vivat, scène conventionnée danse et théâtre d’Armentières • Atelier de Paris / CDCN • Le Ballet de Lorraine (accueil studio) • L’Institut français – Villa Kujoyama (résidence de recherche)
la compagnie contour progressif bénéficie du soutien du ministère de la Culture / Direction régionale des affaires culturelles des Hauts-de-France, au titre de l’aide à la compagnie conventionnée • de la région Hauts-de-France au titre de l’aide au programme d’activité