AGAPÉ
chorégraphie│ Caroline Breton
interprètes │ Caroline Breton, Mathieu Jedrazak & Olivier Muller
création sonore │ Benoist Bouvot
lumières │ Charles Chemin
objets chorégraphiques │Annick Lavallée-Benny
collaborateur lumière & régie générale │Simon Gautier
assistante │ Agathe Vidal
Ouverture studio: 7/11/26 : CCN Pavillon Noir
Avant-première janvier 27: La Chaufferie, 93
Première
VO.2, Cormontreuil 6 février 2027
Première IDF
L'Atelier de Paris - CDCN 11, 12 & 13 MARS 27
Les Hivernales - CDCN d'Avignon 2027
production│groupe Karol Karol
coproduction│
L' Atelier de Paris - CDCN
Pavillon Noir CCN d'Aix-en-Provence
Le V.O2, Reims
dans le cadre du dispositif Accueil studio
soutien à la création│en cours
DRAC Ile-de-France - aide au projet
Région Ile-de-France - aide à la création
Caisse des Dépôts, mécène principal
Fonds de dotation Francis Kurkdjian
accueil en résidence │en cours
CCN Pavillon Noir
Atelier de Paris - CDCN
Le Centre National de la Danse, CN D, Pantin
La Ménagerie de Verre, Paris
Le Silo, Méréville
Dans les Parages, Marseille
La Chaufferie DCA Saint-Denis
The Watermill Center, New York
La Villette
La Pop
Les images du moodboard ne sont pas libres de droits.
![]() | ![]() |
|---|
AGAPÉ is a celebration of the power of friendship, a fantastic, empathetic and hilarious trio.
AGAPÉ is a manifesto of life and celebration. A space of tender rebellion, trust, and complicity. A choreographic ode to the pleasure of festive dances, to the jubilation that comes from forming a trio, and to the multiplicity of its geometric possibilities.
AGAPÉ is a fable about love for love's sake, carried by a whimsical trio who draw on various aesthetics, somewhat like a kaleidoscope, to translate the richness of a life woven together.
“Friendship saves us,” says Hélène Giannecchini in *An Excessive Desire for Friendship*. “It is a founding principle and a protection. It does not diminish with the years; it is an alternative, another way of connecting, a political force. We do not make it a form of half-hearted love; we defend it as a future and as a practice.”
There will be purity and excess, structure and chaos, harmony with a search for beauty and the carnivalesque, the grotesque, the distortion of faces and bodies traversed by emotions.
As an extension of the two owl cocoons of EUPHORIA, I wish to create unique, modular choreographic objects, light and manageable forms that are an opening to dreams, a bridge to the poetic, to that feeling larger than oneself where the ego merges into a common and shared mystery.
To make the set dream, to adorn it and to fantasize about it.







