Moulded by underground culture, always walking a tightrope along the edge of genre conventions, this daring experimentalist who is as much a singer as a dancer and performer is shaking up the choreography establishment. Everybody wants him!
Here, he performs alone. A tight piece. An encounter in an ancient chapel. Countless daily shows. Physical closeness to his spectators. The theatricality of how François Chaignaud moves his body around the set spills over the boundaries of the everyday.

After graduating in 2003 from the CNSMD of Paris, François Chaignaud has  collaborated with numerous choreographers (Alain Buffard, Boris  Charmatz, Emmanuelle Huynh, Gilles Jobin). Since the creation of his  first piece in 2004, he has taken up a multiplicity of roles as dancer,  choreographer, singer, actor, historian, and cabaret artist. His  work—which weaves the aspiration for dance of a comprehensive expression  delving into the porosity and potential of bodies—is early on  characterized by the singing and dance articulation (Думи мої, 2013). Degreed in history, he nourishes his art with in-depth research. The historical depth reflects in his own pieces  as well as in the numerous collaborations he has done, and continues to  do, including with cabaret artist Jérôme Marin (Sous l’ombrelle, 2011), Marie Caroline Hominal (Duchesses, 2009), and visual artist Théo Mercier (Radio Vinci Park,  2016). Between 2005 and 2016, Chaignaud creates with Cecilia Bangolea a  series of noteworthy shows that are showed worldwide, including Pâquerettes (2005–2008), Sylphides (2009), (M)IMOSA (co-written with and performed with Trajal Harrell and Marlene Monteiro Freitas, 2011), Dub Love (2013), and DFS  (2016). In 2021, he founds the organization mandorle productions, which  supports his desire to follow a line of artistic creation marked by  numerous collaborations. With Nina Laisné, he creates Romances inciertos, un autre Orlando  (2017). The piece is presented at the 72nd edition of the Festival  d’Avignon and brings together signing and dance around androgynous  figures drawn from Spanish Baroque folklore. They are currently  conducting research around partner dances in South America.

More information : https://mandorleproductions.fr

Cecilia Bengolea and François Chaignaud have been collaborating since 2005. Together, they created Pâquerette (2005-2008), Sylphides (2009), Castor et Pollux (2010), Danses Libres (2010), (M)IMOSA (with Trajal Harrell and Marlene Monteiro Freitas, 2011), altered natives’ Say Yes To Another Excess –TWERK (2012), Dub Love (2013), DFS  (2016). In 2014, the Ballet de l’Opéra de Lyon commissioned them to  create a ballet for seven dancers on pointe shoes, set to Toru Takemitsu  music composition How slow the wind. In 2015, Bengolea and Chaignaud were commissioned by the Ballet de Lorraine to produce a new work set to Devoted, a music by Philip Glass. On the same year, they premiered a new piece, entitled The Lighters’ Dancehall Polyphony for Pina Bausch’s Tanztheater Wuppertal. The performance Sylphides,  written for vacuumed bodies in latex fetish envelopes won the Award de  la Critique de Paris in 2009 and the Young Artist Prize at Gwangju  Biennial, Korea in 2014. Over the past few years, they have presented  work at the Centre Pompidou in Paris, The Kitchen in New York, Tokyos  Spiral in Japan, the Biennale de la danse de Lyon, at Sadler’s Wells  Theatre in London, the Faena Art Center in Buenos Aires, of fig-2 at  ICA, London, at the Festival d’Avignon, the Festival d’Automne à Paris,  Montpellier Danse, ImpulsTanz in Vienna, deSingel in Antwerp, the Teatro  de la Ribera in Buenos Aires, at the Panorama Festival of Rio de  Janeiro, at the Centre National de la danse in Pantin, SESC in Sao Paulo  and most recently at Kyoto Experiment, the Kyoto International  Performing Arts Festival in October 2018.

Source: Company's website

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