Jonathan Capdevielle & Guillaume Marie

Having studied puppetry at the École supérieure nationale des arts de la marionnette, Jonathan Capdevielle is a stage director, actor, puppeteer, ventriloquist, dancer, and singer. He works alongside Gisèle Vienne and has appeared in many of her plays. He has also worked in film, with Patric Chiha (Boys like us, 2014), Safia Benhaïm (Le sang noir, 2018) and Sébastien Betbeder (Tout fout le camp, 2022). Jonathan Capdevielle created the solo performance Adishatz/Adieu in 2010. Saga (2015) is another chapter in his autobiographical story. In 2017, he penned À nous deux maintenant, adaptation of the novel Un Crime by Georges Bernanos; in 2019 he wrote Rémi, a play for 8+ year olds, adapted from Hector Malot’s much-loved novel Sans famille; and in 2021, Music All, with cowriters Marco Berrettini and Jérôme Marin. He is currently working on a production of Caligula by Albert Camus at the T2G theatre in Gennevilliers, to open this year. Jonathan Capdevielle became an associate of the T2G in 2021 and is also a member of the associate ensemble at the Théâtre des 13 vents in Montpellier.

Guillaume Marie studied at the Opéra de Paris, and at the national conservatory of music and dance in Paris. Since he began his career in 2000, he has worked with numerous world-class choreographers and stage directors, namely Maryse Delente, Itzik Galili, Thierry Smits, Gaël Depauw, Martin Butler, Jonathan Capdevielle, Marlène Saldana & Jonathan Drillet, Guilherme Botelho, David Wampach, Gaëlle Bourges, Cindy Van Acker, Jan Fabre, Romeo Castellucci and Gisèle Vienne. Since 2005, Guillaume Marie has been creating his own works with the association Tazcorp, a group of artists from the world of dance and performing arts, philosophy, music, costume, make-up and special effects and video. His work is incredibly varied, ranging from dance to short films.

Drawing on modified consciousness and improvisation, Jonathan Capdevielle and Guillaume Marie propose a work based on fragmented bodies and voices. Isolation and decomposition, incarnation and dissociation of body and voice reveal partitions that fit together or oppose each other, simultaneously producing tension and allowing currents to flow. The key is to apply these tools to various disciplines; contemporary dance, political discourse, pop culture, philosophy, absurdity, and humour; so that participants invent their own hybrid forms.