Two hybrid beings struggle as best they can to give life to a film that doesn’t exist and whose story is implicitly shown on the theatre wall.

It is essential to know that the supercargo refers, in the shipping industry, to a responsible person who represents on board a ship, the cargo owner, the shipper, the ship owner or the charterer. In some respect he is an “honorary passenger” who has no regular or clearly defined obligations like the crew! 

“Sang-Froid recounts a confused story about a vessel. The silent cinema sets itself up as master, defiant and gesticulating faced with the narration. Burlesque cabaret prowls around, while dance emerges from voluptuous pleasures buried in the basements. The magical process arising from the darkness rubs off on the odours and visions. There are no forests, no deserted roads, no rivers or ravines, no ruined shacks, no fallow ground, just a ship in the midst of the dark ocean.”

Source: programme of the CND

A dancer for Odile Duboc, Myriam Gourfink, Benoît Lachambre, Laure Bonicel, Élisabeth Schwartz, Gilles Touyard, Alain Michard and Mathilde Monnier, Julia Cima has worked with Boris Charmatz at the Association Edna for eleven years. In 2005, she choreographed “Visitations” and in 2007, the author and stage director Gildas Milin engaged her as an actress for his piece “Machine sans cible” (Machine without a target).

During this acting job, she signed up with Denis Lavant for “Brut de lettres” (Gross letters), for the Sujet à Vif at the Festival d'Avignon 2008.

Guy Walter, director of Les Subsistances in Lyon, engaged her for the “Ça valse!” (Let's waltz) festival (October 2008), a short work performed to the music of the famous Viennese waltzes, resulting in “Je suis enchantée" (I am magic), a duet with the actor Marc Arnaud and with the participation of the author Olivia Rosenthal.

Julia Cima continued to work on her new programme of solo works, “Dance Hors-Cadre” (Dance beyond the scope) (2009), and “POEM”, a duet with a Korean dancer (2010). Since 2010 she has also taught movement at the école du Théâtre National de Bretagne (National Theatre School of Brittany).

Updated: June 2013

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.).