This project consists of two short films: “Une maison sur la colline” and “Un appartement en centre ville”. These choreographic fictions, filmed in situ in two significant architectural spaces, continue to explore the relationship between dance and architecture and place dance in the broader hybrid fields of visibility and mediation with the audience.
One was filmed at the Villa Noailles, Hyères, designed by the architect Mallet-Stevens in 1925, the other in the Perret show apartment, symbol of the city of Le Havre reconstructed by Auguste Perret. 

Source: Centre Chorégraphique National du Havre Haute-Normandie

Born in Lille in 1961. After studying architecture for a few years, Hervé Robbe set his sights on dance. He was principally trained at Mudra, Maurice Béjart's school in Brussels. He began his performing career dancing the neo-classical repertoire, then went on to work with various modern dance makers.

In 1987 he founded his company: le Marietta secret.

The course of his career is clearly founded on a constant renewal of his choreographic writing. Supported by loyal artistic collaborators, his work has become increasingly sophisticated over the years, associating the dance presence with visual, sound and technological worlds. His projects, polysemic works, take many forms: frontal performance, ambulatory shows and installations.

The place of the audience, its presence and view is decisive; the stage space is regularly called into question.

His arrival at the CCN (National choreographic Centre) of Le Havre Haute-Normandie offered more opportunities for his research.

In 1999 he composed his autobiographical solo Polaroïd. Within it, video images of places associated with his childhood appear and coexist with an uninterrupted physical display.

In 2000 he explored the theme of home with Permis de construire – Avis de Démolition, a diptych consisting of an installation and a performance. He went on to tackle the theme of the garden in 2002 with Des Horizons Perdus.

In a world constructed with screens – virtual containers for the body, evokers of death – in the duet REW he engaged in a dialogue between man and woman on the theme of suicide. In 2004, with the group piece Mutating Score, he returned to the idea of the performance area being a common space occupied by both audience and dancers. This installation-dance, while reaffirming this conviction about the force of movement, marks the culmination of a project on the use of new technologies, which are integrated into the show in real time.

In 2006 he designed the installation So long as baby...love and songs will be, a kind of manifesto of the preoccupations which underlie his work. The device is a containing structure in which the audience is invited to watch and listen to the dancer-singers present on screen. Hervé Robbe distanced himself from the stage with this, then returned to it in the works Là, on y danse in 2007 and Next days in 2010.

While maintaining his personal approach in his own productions, he regularly accepts commissions from the Opéra de Lyon, the Gulbenkian Ballet, the CNSMDP (Paris Conservatoire) and the Hong Kong Academy for Performing Arts.

Source: Centre Chorégraphique National du Havre Haute-Normandie

Vincent Bosc est arrivé à la vidéo à travers la pratique des arts plastiques et de la musique. C’est cette pratique qui l’a amené à collaborer avec des chorégraphes intéressés par ses captations de spectacles engagées dans une posture créative. Parti de la vidéo expérimentale, son travail s’est ensuite adapté à l’objet de création. A la fin des années 1990, il rencontre Hervé Robbe qui développe alors un pôle sur l’image pour et sur le plateau au sein du CCN du Havre. Ensemble, ils explorent depuis 2002 la thématique de la mise en scène et en espace de l’image, accompagnant les évolutions technologiques et esthétiques en la matière. Leur collaboration questionne la danse dans sa représentation et le corps filmé en mouvement, expérimente les limites, dans des formes dynamiques, jamais figées.