« Fresques et sketches 2nd round » is composed of snapshots linked together by
the object, like two runners are by the baton.
« Fresques et sketches 2nd round » is the second part of a work
comprised of sketches. In this play, soldiers, drum-majorettes, air
hostesses, watchmen, inspectors… perform, a world of uniforms in a
This play is a new round of fixed colours which lets us catch a
glimpse of our extravagances and phobias of disorder. Philippe Ménard
wrote a whimsical play on appearance and personality taken on by people
when they are working, a personality taken on through uniform and its
paraphernalia, clothes and objects and also through simple clothes.
Some verbs are associated and linked to the duty due to the uniform but
yet evicted from our imagination : to direct, to control, to supervise,
to warn, to act, to quell.
We are these men and women, these couples, actors and, because of
that kind of situation, we pray for order and its legitimate
normalization. Jugglers, dancers, actors, we all respect laws…but which
laws ? The ones that defy reality or our human beliefs, or perhaps
these which defy our shameful desire for power which lets us decide and
enjoy freedom ? (Philippe Ménard).
She first studied Physical Education at university, and then she
learnt contemporary dance. She began to perform with Myriam Dooge
Company (Carnaval intime in 1990) and after that took part in Eric
Goizet’s first projects (Manifestations and Désir de suite in 1991).
From 1992 to 1999, she performed in 6 plays of Karin Vyncke Company
: Sous les vêtements blancs, Kreuset, Vous avez appris que je tombais,
Could can be, Nerf and Tar. She took also part in 2 video-dances called
Tristina and Lena’s verhaal.
She started to study Hervé Diasnas’ work performing in the play «
Pratique » and she joined his company in 1996 as an assistant and as a
dancer for the diptych les portraits mouvementés / les semelles de
vent. She also performed in the plays Cocace, le tabloïd des anges and
Transparences rémoises, produced from 1999 to 2001.
She met Philippe Ménard as he was also performing in Transparences rémoises.
In 1994, she took part in the creation of the Ex Nihilo Collective
of Marseille and explored new performing ways. She also experienced
street performances acting in La plus belle heure (selected performance
for the Mediterranean Biennial of Young Producers in 1997) and in
Tourne-Vire in 1998.
Within the collective, she collaborated on two choreographic
productions (Via Celestino and Felix fêlé d’éclats) for the series
called Sur les bords du cadre from the video director Danielle
In 1996, she choreographed a series of soli named Iris, which would
turn to Iris ou la diffraction du regard in 2005, a play halfway
between dance and video (directed by Danielle Bertotto). Meanwhile, she
choreographed her new video-dance project called Un baiser pour ne pas
She met Serge Papiernik during a training course directed by F.
Raffinot. She performed in Serge Papiernik’s first choreographic
production : Samuel LII CH6.
She helped Christine Corday for the production of her soli : Mine de rien and Elles.
Since 2003, she collaborated in Les Princes de Rien Company’s
projects (Director : Claudia Gradinger) for the following plays : Les
cocus magnifiques and Portrait.
Created on 10th and 11th May 2005 in Le Carré, National Stage in Château-Gontier.
Coproduced by Le Carré, National Stage in Château-Gontier and Compagnie Non Nova.
La Compagnie Non Nova is subsidised by the Ministery of Culture and Communication - DRAC des Pays de la Loire, le Conseil Régional des Pays de la Loire, le Conseil Général de Loire-Atlantique and the City of Nantes.The company is supported by the Institut Français and the Foundation BNP Paribas (Fondation BNP Paribas).