Marion  Schrotzenberger began her training in contempo-raine dance at the  Conservatoire National de Région de Châlon sur Saône. She graduated with  the gold medal.    
She  then entered the F11 (dance technique) course at the Conservatoire de  Danse de Lyon and the Lycée St Exupéry. She will take the courses taught  by professors F. Bénet and M. Mengual. This high level training will  give him the chance to take the courses and masterclasses given by  choreographers of international reputation: Carolyn Carlson, Odile  Duboc, Maguy Marin...
She  will complete her training by obtaining the F11 baccalaureate with the  mention very well and the diploma of graduation in contemporary dance  with the mention very well unanimously of the jury.

It  will then be accepted upon hearing and with a two-year age derogation  from the international training “ex.er.c..” at the Centre Chorégraphique  National de Montpellier under the direction of Mathilde Monnier. The  training will be delivered by the greatest names in contemporary dance:  choreographers Mark Tompkins, Lisa Nelson and Steve Paxton, Odile  Duboc, Emmanuelle Huynh, dance historian Laurence Louppe...
After completing her training, she moved to Brussels. Her  first project in Belgium was an encounter with Belgian and Quebec  artists (dancers, videographers, circassians) with choreographer Edith  Depaule, assistant to Michèle Anne de Mey.

The plays will be performed in Brussels (Théâtre de L') and Montréal (Théâtre de Verdure)
Following  the performances at the Théâtre de L'L, he was invited to participate  as a young choreographer in the 2005 Festival “Danse en vol”. She  created her first play «Arizona» with the musician Ismaël Colombani.
She  then founded the collective Lookatmekid with Ismaël Colombani and  Cosima Jentzsch. For 5 years, the collective will regularly come to  Reunion to perform its shows and conduct artistic residencies in  schools.
For  2 years now Marion and other members of the collective have officially  resided between Brussels and Reunion Island and continue the work of  Lookatmekid.

His  installation two years ago on Reunion will be marked by the creation of  «Saut'la mer à l'envers» supported by the Békali network. It is on the history of his Creole family that the entire dramaturgy of the show is based. The question of origins, migrations and the fa-milial link are danced spoken and set to music. This  piece will also mark his desire to deepen the relationship between  gesture and word and the integration of amateur extras into his  professional work.

Jérôme Brabant is a choreographer, born in 1973 at Saint-Pierre in Reunion Island. He studied theatre at Paris 8 University and the Mimodrame Marcel Marceau School. In 2001 he joined the Toulouse/Midi-Pyrenées Choreographic Development Centre to follow the “Extensions” course and started his career as a dancer-performer for several companies: Marco Berrettini’s *Melk Prod, the Samuel Mathieu company, the Patricia Ferrara company/Unber-Humber Group.

Jérôme Brabant started working as a choreographer from 2002, when he founded the UND und ballet with Marion Muzac. He created his first pieces: Roomy Dancing in 2002, Gala in 2003 and Pavilion in 2004.

In 2011 he founded his Octogonale Company on Reunion Island. His return to the island was the opportunity for him to search for a choreography that focused on the island’s identity. He created his first solo, Heimat, “the country you carry within you”.

In 2014, he produced his second solo performance called Impair, which was inspired by the craft of his grandparents, who were well-known for their knowledge of medicinal plants and magnetic healing.

In 2015, Jérôme Brabant collaborated with New Gravity, a group of free runners, and with them he created the piece Emergency.

In 2016, he researched exoticism with Maud Pizon and created A Taste of Ted, a group of solos adapted from original creations by Ted Shawn.

Source : Lalanbik’s website

More information : https://www.lalanbik.org/ 

Although  he knows how to accept its codes and conventions, Eric Languet admits  to having never known how to integrate into a group. And it is  undoubtedly this feeling of illegitimacy which has nourished his career  as a dancer and choreographer for thirty years, questioning the margins,  the a-normality, inviting to the ball those whom life did not intend to  dance. He has nevertheless joined some groups, and not the least. After  discovering dance on the island of Reunion, where he grew up, he  studied at the CNR in Rueil-Malmaison and embarked on a career as a  classical dancer. A career that took him to the Paris Opera, then to the  Royal New Zealand Ballet where he was named principal dancer and then  resident choreographer. Although he respects the hierarchy of merit, he  is less keen on the label that his status as a star dancer would suggest  he adopt. The encounter with the work of Jiri Kylian, William Forsyte  and Douglas Wright will then influence his aesthetics and his  choreographic intention. A dancer for the Meryl Tankard Australian Dance  Theatre, he experiments with instant composition work with Mark  Tompkins and the approach to physical theater with Zero Theater. The  path of Danses en l'R, a company he created in 1998 in Reunion Island,  is then traced: that of a dance of the human in society, showcasing the  individual and his difficulties in what he They have the simplest  gesture.

His  conception of beauty and his working techniques will further evolve  thanks to two essential meetings, those with Lloyd Newson, under whose  direction he worked within the DV8 Physical Theater for the creation of  The cost of living from 2000 to 2003, then that of David Toole, a  formidable dancer born without a leg, with whom he toured Europe in 2003  for the revival of this creation. Beauty, for Eric Languet, no longer  has any connection with the aesthetics of the body. It is located  elsewhere, in the faults, the cracks, the subtlety and the ambiguity of  relationships with others.« En tant qu’artiste, ce qui m’intéresse depuis toujours, c’est de voir et de rendre compte ; comment chaque individu se détermine au quotidien ; comment il se situe par rapport à l’autre, aux autres, à la norme ou l’anormalité. Que signifie pour lui le rejet ou l’intégration à un groupe ? Dans ma démarche créative, j’aime mélanger des gens avec leurs différents bagages techniques, culturels, biographiques ou physiques et voir quelle(s) histoire(s) se raconte (nt) pendant le temps de cette rencontre. Cette démarche que j’utilise pour mes créations chorégraphiques, s’étend aussi à notre réflexion et à notre relation avec le public et le spectacle. » Eric Languet

S’il sait en accepter les codes et conventions, Eric Languet avoue n’avoir jamais su s’intégrer à un groupe. Et c’est sans doute ce sentiment d’illégitimité qui nourrit depuis trente ans son parcours de danseur et chorégraphe, questionnant la marge, l’a-normalité, invitant au bal ceux que la vie ne destinaient pas à danser.

Des groupes, il en a pourtant intégré quelques-uns, et non des moindres. Après avoir découvert la danse à l’île de La Réunion, où il a grandi, il étudie au CNR de Rueil-Malmaison et embrasse la carrière de danseur classique. Une carrière qui le mènera à l’Opéra de Paris, puis au Royal New-Zeland Ballet où il sera nommé danseur étoile puis chorégraphe résident. S’il y respecte la hiérarchie de mérite, il goûte en revanche moins l’étiquette que son statut de danseur étoile lui suggèrerait d’adopter.

La rencontre du travail de Jiri Kylian, William Forsyte et Douglas Wright influenceront alors son esthétique et son propos chorégraphique. Danseur pour le Meryl Tankard Australian Dance Theatre, il expérimente le travail de composition instantanée avec Mark Tompkins et l’approche du théâtre physique avec le Zéro théâtre.

La voie de Danses en l’R, compagnie qu’il crée en 1998 à La Réunion, est alors tracée : celle d’une danse de l’humain dans la société, mettant en scène l’individu et ses difficultés dans ce qu’ils ont de plus simple, le geste.

Sa conception du beau et ses techniques de travail évolueront encore grâce à deux rencontres essentielles, celles avec Lloyd Newson, sous la direction duquel il travaille au sein du DV8 Physical Theatre pour la création de The cost of living de 2000 à 2003, puis celle de David Toole, formidable danseur né sans jambe, avec qui il tourne en Europe en 2003 pour la reprise de cette création. La beauté, chez Eric Languet, n’a désormais plus de rapport avec l’esthétique des corps. Elle se situe ailleurs, dans les failles, les fêlures, la subtilité et l’ambigüité des rapports à l’autre.

Formé à la danse intégrée par Adam Benjamin, co-fondateur de la compagnie Candoco, Eric Languet mène depuis 2004 un programme d’ateliers en lien avec les institutions et les hôpitaux de La Réunion, ELEC (Espace libre et change), mêlant danseurs valides et handicapés. Il a intégré à sa compagnie Wilson Payet, danseur en fauteuil formé dans le cadre de ces ateliers, interprète de deux de ses créations, Attention fragile (2012) et Fragments d’un discours lumineux (2014), création dans laquelle Eric Languet danse.

Car le chorégraphe n’a jamais cessé de danser et nourrit aussi ses créations de ses expériences d’interprète. Celle avec Robyn Orlin en 2013, sur In a world full of butterflies, it takes balls to be a caterpillar, some thought of falling… a d’ailleurs certainement conforté sa vision chorégraphique, entre théâtre physique, performance et pouvoir de subjuguer de la danse.

Source: Lalanbik