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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, Cormontreuil6 février 2027

Première IDF

L'Atelier de Paris - CDCN 11, 12 & 13 MARS 27 

Les Hivernales - CDCN d'Avignon  2027

​​productiongroupe 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.

@Dolly Parton
Pistes scénographiques Annick Lavallée-Benny

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.

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