The image of a bonimenteur, or story-teller, is that of someone who uses verbal illusions to make us believe, seduce  or persuade. But, in the history of the cinema, the term was used for  the person tasked with giving a live explanation of a film; in the age  of the silent cinema, this voice was the guarantor for the plot,  “providing access to this imaginary world, which the animated images  will bring to life before our eyes”. As an actor, but also  ventriloquist, dancer and puppeteer, Jonathan Capdevielle is a genuine  story-teller – using vocal artifices to flesh out images. With Arthur B.  Gillette and Jennifer Eliz Hutt as guides to the kingdom of shadows,  these contemporary story-tellers melt into the images, while redoubling  them and describing them from the interior. The film selected for this  spectral dive make use of a type of relationships with images and the  vertigo they cause: Suspiria (1977) plunges us into the  disturbing phantasmagorias of Dario Argento. On the borderline between  fiction and commentary, between incarnation and explanation, these  story-tellers transmit to us the mysterious fluidity that runs through  this film.

Source: program of the CND

After theatre studies in Tarbes between 1993 and 1996, Jonathan Capdevielle joined the École supérieure nationale des arts de la marionette (French School of Puppetry Arts). He participated in several creations, including: “Personnage à réactiver”, a piece by Pierre Joseph (1994), “Performance” with Claude Wampler (1999), “Mickey la Torche” by Natacha de Pontcharra, translated by Taoufik Jebali, directed by Lotfi Achour, Tunis (2000), “Les Parieurs” and “Blonde Unfuckingbelievable Blond”, directed by Marielle Pinsard (2002), “Le Golem”, directed by David Girondin Moab (2004), “Le Dispariteur”, “Le groupe Saint-Augustin”, “Monsieur Villovitch” and “Hamlet”. He has worked with Gisèle Vienne since her first stagings and has performed in all her works: “I Apologize”, “Une belle enfant blonde / A young, beautiful blonde girl”, “Kindertotenlieder”, “Jerk, pièce radiophonique”, “Jerk, solo pour un marionnettiste”, “Éternelle idole”, “This is how you will disappear” and “LAST SPRING: A prequel” (a previous episode), created in 2011.

He has also participated in works created by Étienne Bideau-Rey and Gisèle Vienne: “Splendid's de Jean Genet”, “Showroomdummies” (created in 2001 and rewritten in 2009) and “Stéréotypie”.

In September 2006, he created “We are accidents waiting to happen” at the Palais de Tokyo, Paris, in partnership with Guillaume Marie. In 2007, he signed the Jonathan Covering performance-singing tour at the Tanz im August Festival in Berlin, the starting point for his Adishatz / Adieu work, presented in November 2009 at the national Choreographic Centre of Montpellier Languedoc-Roussillon as part of ]Domaines[ and then in January 2010 during the C'est de la Danse Contemporaine Festival at the Centre for Choreographic Development of Toulouse / Midi-Pyrénées.

In April 2010, he performed in Yves-Noël Genod and Nathalie Quintane's radio play “Marseille Massacre” within the framework of France Culture's radio creation workshops.

Updating : January 2012

Baltimore musician and composer Jennifer Eliz Hutt has been living in  Paris for 13 years where she performs live and composes for film,  television, theater and performance.
Her music is often heard in  television documentary in France, but also in fiction on the  international film festival circuit. She is the founder of MUMI Prod  (Music Under Moving Images) a collective of composers of music for  image, based in Paris and Baltimore.
She has played and recorded on  violin with artists such as Bonnie Prince Billy (Drag City/Domino),  Moriarty’s Watie Watia band (Air Rytmo), Celebration (Bella Union),  Atome Primitif (self-released), Faren Khan (Al Sur), , Nidi d'Arac  (Goodfellas), Aboureteum (Thrill Jockey) and Soon Clyde (self-released)  among others.
She also plays and records the contemporary classical compositions of her father, English-American composer Preston Hutt.
source : Vimeo - Jennifer Hutt

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).