A hybrid form between theater and dance, Rouge dents traces the intimate itinerary of a teenager in search of her own body and prey to the injunctions of contemporary femininity. The piece is a reflection on the construction of oneself in the face of the dictatorship of the image.

Rouge dents is a two-voice, two-body monologue for a dancer and an actress. He deploys an intimate showdown, an inner tension between the desire to blend into the mold of the young and pretty girl and the increasingly pressing need to free oneself from it. Gwladys is in her room, facing her mirror, at the end of a trying day. She wore her brand new bright red sneakers to school, which she does not quite assume, which do not quite suit her, and suffered sideways glances and teasing during lessons and recess. She is sad, she is angry, she looks within herself for an escape route. What to do? Stand up to this red, merge with it to crush the mockers, or is it time to send everything to the wind and invent something else, another destiny, for herself?

The text borrows from the world of fairy tales (we come across Les Souliers Rouges, Le Petit Chaperon Rouge, Cendrillon) and from the codes of fashion and new icons who triumph on social networks or in reality TV shows, those called "it girls" or "influencers", in an attempt to dismantle the mechanisms at work in this major seduction operation in which multinationals have embarked in order to exploit as much as possible the flaws of their targets teenage girls. It sheds light on the discourses with which young people, and more particularly young girls, are confronted daily and which tend to lay down the law on their bodies and their patterns of consumption in an attempt to reveal their violence and perversity. The character's imagination has totally ingested, digested these alienating, totalizing voices, which resonate in his head constantly and without pity. But little by little, another path is opening up, that of a still poorly articulated but undeniably powerful struggle for the construction of one's own self.

A tale on glossy paper, Rouge dents tackles the processes of instrumentalization and reification of female bodies and identities. The heroine violently rejects the models she believed in until then, those of the Woman-Product, to turn to the Wild Woman. She goes to meet her desires, her revolts, and reinforces her instinct of resistance to norms, her need for emancipation in the face of straight-jacketed roles and straightjacket mentalities in which the contemporary feminine is locked up.

A hybrid form between theater and dance, Rouge dents traces the intimate itinerary of a teenager in search of her own body and prey to the injunctions of contemporary femininity. The piece is a reflection on the construction of oneself in the face of the dictatorship of the image.

Rouge dents is a two-voice, two-body monologue for a dancer and an actress. He deploys an intimate showdown, an inner tension between the desire to blend into the mold of the young and pretty girl and the increasingly pressing need to free oneself from it. Gwladys is in her room, facing her mirror, at the end of a trying day. She wore her brand new bright red sneakers to school, which she does not quite assume, which do not quite suit her, and suffered sideways glances and teasing during lessons and recess. She is sad, she is angry, she looks within herself for an escape route. What to do? Stand up to this red, merge with it to crush the mockers, or is it time to send everything to the wind and invent something else, another destiny, for herself?

The text borrows from the world of fairy tales (we come across Les Souliers Rouges, Le Petit Chaperon Rouge, Cendrillon) and from the codes of fashion and new icons who triumph on social networks or in reality TV shows, those called "it girls" or "influencers", in an attempt to dismantle the mechanisms at work in this major seduction operation in which multinationals have embarked in order to exploit as much as possible the flaws of their targets teenage girls. It sheds light on the discourses with which young people, and more particularly young girls, are confronted daily and which tend to lay down the law on their bodies and their patterns of consumption in an attempt to reveal their violence and perversity. The character's imagination has totally ingested, digested these alienating, totalizing voices, which resonate in his head constantly and without pity. But little by little, another path is opening up, that of a still poorly articulated but undeniably powerful struggle for the construction of one's own self.

A tale on glossy paper, Rouge dents tackles the processes of instrumentalization and reification of female bodies and identities. The heroine violently rejects the models she believed in until then, those of the Woman-Product, to turn to the Wild Woman. She goes to meet her desires, her revolts, and reinforces her instinct of resistance to norms, her need for emancipation in the face of straight-jacketed roles and straightjacket mentalities in which the contemporary feminine is locked up.

His artistic and professional career was built through hybrid and multidisciplinary projects and collaborations, at the confluence of dance, performance, photography and video. Through creation, Jérémy Tran attempts to capture, amplify and transform the energy and presence of the body — based on choreographic and cinematographic research — in order to reveal its essences and instincts.

After starting classical dance at the age of 8, Jérémy Tran, student at the Conservatoire Régional de Lille, decided in 2009 to move towards contemporary dance. It is strong these years and the rewards obtained — triple gold medalist at the French National Confederation of Dance — he joined in 2010 the Conservatoire National Supérieur Musique et Danse de Lyon. In 2014, he obtained the National Superior Professional Dancer Diploma, the ADAMI scholarship and the Talent prodij trophy from the city of Lyon. He directed many short films, including Artificial Landscapes, gathering 140 people, which he presented in September 2014 at the International Lyon Dance Biennale, and Dissection of the 60secondsdance Denmark international festival.

In 2015 he was selected to participate as a videographer and performer at the Watermill Center Summer Program in New York and work under the direction of director Robert Wilson. He also choreographed the performance Lagune for 6 dancers and a marionnetist, in collaboration with the visual artist Denis Savary on the occasion of the centenary of the DADA.

In 2016, he obtained the Master 2 Development of International Artistic and Cultural Projects (with highest honors) from the Université Lumière Lyon 2, in which he wrote a dissertation on The participations of amateur artists in the creations of the world of dance: the impacts and issues related to these interpreters.

After having worked as a project monitoring officer at the Centre National de Lyon, he continued his training by integrating the École Normale Supérieure de Lyon in Project Management in Information Architecture and at the same time held the position of Project Manager/Administration in an art production office in Lyon.

In 2018, he created his company and became artistic director and freelance artist, specialized in dance and video production. He is also admitted for the oral exams of the selection contest for residents of the Académie de France in Rome - Villa Medici, which take place at the Ecole Nationale Supérieure des Beaux-Arts in Paris.

Today Jérémy Tran participates both as a professor, choreographer-director, at the Conservatoire National Supérieur Musique et Danse de Lyon and CinéFabrique - National School of Cinema to deal with the articulation between choreographic and cinematographic language, and ardently pursues the design of new hybrid projects.

He devotes himself to creating a choreographic piece, What is left for us, that will be presented and performed in June 2020 by the Ballet of the Grand Théâtre de Genève.

After having been trained at the Rennes Conservatory of Dramatic Arts (Professional Orientation Cycle), under the direction of Daniel Dupont (obtaining the Diploma in Theatrical Studies in 2010), Pierre Cuq joined the 72nd class of ENSATT (Ecole National Superior of Theater Arts and Techniques). During his training, he worked with Frank Vercruyssen (tgSTAN), Guillaume Lévêque, Anne Théron, Laurence Roy, Philippe Delaigue, Frédéric Fonteyne, Ariane Mnouchkine, Agnès Dewitte, Eloi Recoing, Enzo Cormann, Marie Payen, Olivier Maurin, Claire Lasne-Darceuil , Pierre-Alain Chapuis, André Markowicz…

At ENSATT he played Lance Fredricksen for Anne Théron in the play by C. Pellet Loin de Corpus Christi, then the prosecutor Edward Carson for Frank Vercruyssen in Indecencies, after O. Wilde and M. Kaufman, and finally for Philippe Delaigue in Le Grand Ensemble, a traveling creation of 16 pieces on the crisis and the city.

In the theatre, he plays and sings under the direction of Daniel Dupont (La Trahison Orale, by M. Kagel, La Decision, by B. Brecht, Opéra de Rennes), Vladimir Moràvek (Cirkus Havel, Villeneuve en Scène festival), Claire Lasne -Darceuil (For the Best, Les Nuits de l'Enclave festival) Philippe Baronnet (Le Monstre du Couloir, We Just Wanted You to Love us, Le Préau, Vire), Lucie Rébéré (CROSS, Comédie de Valence), Jean-Louis Benoit (Les Autres, Grand Théâtre du Luxembourg) and more recently Bob Wilson (Luther Dancing with the Gods, Berlin and Amalh and the Night Visitors, Watermill).

In the cinema, he works for Eleanor Coppola (Paris Can Wait, Elzevir Films) alongside Diane Lane and Alec Baldwin, but also Vania Leturcq (L'Année Prochaine, Offshore), Robert Guédiguian (Une Histoire de Fou, Rouge Production), Orso Miret (The Life of Beasts, Arte), Jérôme Cornuau (The Killer of the Lake, TF1) Jules Raillard (ON K'AIR) or even Jérémy Tran (Artificial Landscapes).
As a director, he created Le(s) Joueur(s) after N. Gogol and F. Dostoïevski in 2010, L'Enfant Froid by M. von Mayenburg in 2013 (co-directed with Sophie Engel ) and K after F. Kafka in 2014. In 2019 he created Villa Dolorosa by Rebekka Kricheldorf at Théâtre 13 for which he won the Prix Théâtre 13 / Young directors. In 2019 he commissioned the text Seuil from Marilyn Mattei on virility and the construction of the male model. The text is the winner of the CNL grant and the FADEL - Normandy Region scheme (creation 2021).

Passionate about contemporary writing, he is part of the collective À Mots Découvertes, the committee of young readers of the JTN and the label Jeunes Textes en Liberté and has dedicated the promotion of these writings to his company Les Grandes Marées based in Vire.
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For the 21/22 season Pierre Cuq will play L'Aiglon d'E. Rostand, directed by Maryse Estier (Théâtre Montansier, Versaille), in We Just Wanted You to Love Us, by M. Mougel directed by Philippe Baronnet. He will also stage Rouge dents, a theater and dance commission from Pauline Peyrade on the feminine (creation spring 2022).

His artistic and professional career was built through hybrid and multidisciplinary projects and collaborations, at the confluence of dance, performance, photography and video. Through creation, Jérémy Tran attempts to capture, amplify and transform the energy and presence of the body — based on choreographic and cinematographic research — in order to reveal its essences and instincts.

After starting classical dance at the age of 8, Jérémy Tran, student at the Conservatoire Régional de Lille, decided in 2009 to move towards contemporary dance. It is strong these years and the rewards obtained — triple gold medalist at the French National Confederation of Dance — he joined in 2010 the Conservatoire National Supérieur Musique et Danse de Lyon. In 2014, he obtained the National Superior Professional Dancer Diploma, the ADAMI scholarship and the Talent prodij trophy from the city of Lyon. He directed many short films, including Artificial Landscapes, gathering 140 people, which he presented in September 2014 at the International Lyon Dance Biennale, and Dissection of the 60secondsdance Denmark international festival.

In 2015 he was selected to participate as a videographer and performer at the Watermill Center Summer Program in New York and work under the direction of director Robert Wilson. He also choreographed the performance Lagune for 6 dancers and a marionnetist, in collaboration with the visual artist Denis Savary on the occasion of the centenary of the DADA.

In 2016, he obtained the Master 2 Development of International Artistic and Cultural Projects (with highest honors) from the Université Lumière Lyon 2, in which he wrote a dissertation on The participations of amateur artists in the creations of the world of dance: the impacts and issues related to these interpreters.

After having worked as a project monitoring officer at the Centre National de Lyon, he continued his training by integrating the École Normale Supérieure de Lyon in Project Management in Information Architecture and at the same time held the position of Project Manager/Administration in an art production office in Lyon.

In 2018, he created his company and became artistic director and freelance artist, specialized in dance and video production. He is also admitted for the oral exams of the selection contest for residents of the Académie de France in Rome - Villa Medici, which take place at the Ecole Nationale Supérieure des Beaux-Arts in Paris.

Today Jérémy Tran participates both as a professor, choreographer-director, at the Conservatoire National Supérieur Musique et Danse de Lyon and CinéFabrique - National School of Cinema to deal with the articulation between choreographic and cinematographic language, and ardently pursues the design of new hybrid projects.

He devotes himself to creating a choreographic piece, What is left for us, that will be presented and performed in June 2020 by the Ballet of the Grand Théâtre de Genève.

Les Grandes Marées is a theatrical company founded in 2017, based in Vire in Normandy, directed by Pierre Cuq, and whose project is oriented around 4 founding axes:
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• The promotion of contemporary writing (through orders placed with authors or staging of unpublished texts, assistance with publishing, search for residency and funding in writing, linking)
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• Multidisciplinarity (more particularly the links that are woven between theater and dance)
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• Artistic and cultural education (in schools, associations, or amateurs) for adolescents (middle/high school) and adults
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• Projects related to the territory (meeting residents, diversity of audiences, training outside the walls, decentralized tours)
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Since 2010, Pierre Cuq has directed Le(s) Joueur(s) after Nikolaï Gogol and Alexandre Pouchkine, L'Enfant Froid by Marius von Mayenburg (co-directed with Sophie Engel), K solo after the dreams of Franz Kafka.
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In October 2019 he created Villa Dolorosa, by the German author Rebekka Kricheldorf at the Théâtre 13 / Seine. A vitriol adaptation of The Three Sisters, the play paints the portrait of a European youth who no longer finds meaning in the world. The piece is presented for the first time in France. The show is the winner of the Prix Théâtre 13 / young directors 2019.
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In 20/21 he staged Seuil, trained in the classroom (middle/high school) and indoors, writing commission made to the author Marilyn Mattei (Laureate 2020 CNL scholarship and the FADEL / DRAC Normandie device, published by Theater Open in 2022). Seuil deals with the toxic mechanisms of virility and the theme of consent through the example of rites of passage between men.
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In 21/22 he will stage Rouge dents, a writing commission made to Pauline Peyrade (2017 Laureate CNL scholarship, published by Solitaires Intempestifs) mixing theater and dance, and dealing with the issues of the female body, the quest for self in the face of the dictatorship of the image, and of savagery. He will stage the play in collaboration with choreographer Jérémy Tran.