Concept: Julie Boter & Mélanie Favre
Performers: Julie Botet, Lora Cabourg, Mélanie Favre
Music: Juliette Macquet & Nicolas Tarridec
Julie started dancing at La Manufacture Vendetta Mathea School in the Cantal region before entering the Ballets du Nord school in Roubaix (FR). At the same time she graduated with a bachelors degree in dance at Charles-de-Gaulle-Lille 3 University. She has danced for Bertrand d’At, Sandra Savin, Gaëlle Bourges, Isida Micani, Maguy Marin & Jérôme Bel. In 2015, she trained at CobosMika Seed’s in Spain where she met Catalan and European choreographer such as the Peeping Tom company. Here she directed her first short movie KISS KISS trough the work of the Collectif Palamos Hospital. In June 2016 the movie was projected in Paris in the Atelier Moreau. During the same year she created her second movie NANA, a scandalous ode to all-powerful femininity. In 2016 she starts her collaboration with Mélanie Favre and Sapharide Company and they created together PUCIE their first co-creation.
Mélanie was born in Paris where she had her first choreographic experiences. She continues to train and develop herself corporeally through several and diverse workshops in France and elsewhere in Europe such as with Myriam Gourfink, Shai Faran and Marcela Giesche. After graduating with a Bachelor’s degree as a contemporary dance teacher, Mélanie joined the Dance Intensive Program at Tanzfabrik in Berlin. She continues to pursue her career as a dancer, performer and choreographer in France and in Germany. She founded Compagnie Sapharide in 2013 with her first research Infiniment Double and she is collaborating with Julie Botet for their first co-creation PUCIE. She has danced under the direction of Chaim Gebber/Open scene since 2015 in The Green Village, Body Play and Exploring Visuals. She also collaborates with various painters and designers as a live model or as an actress, like in the short film Furniture Porn by Antoine Heraly.
Lora is a dancer and a clown. She developed her choreographic style with Rosine Nadjar in Nantes and later with Peter Mika and Olga Cobos in their junior company in Catalogna. At this time she also discovered the techniques of Peeping Tom, Hofesh Shechter, TJ Lowe, Anthon Lachky and many more. Through these techniques she has learnt what it means to perform, to give yourself to those watching and has also developed her own corporeal identity: sensual and clownish, disarticulated and fluid.