The company

A multi-faceted artist, actress and musician, composer and director, Florence Goguel designs and performs her shows with the Porte-Voix company. She has a multidisciplinary background, having studied ethnomusicology and composition at UCLA (Los Angeles), and has been taught by director Peter Sellars, choreographer and singer Meredith Monk, and video artist Max Almy. She worked with the team at the Cité de la Musique (Paris) to develop and implement the museum’s cultural project and its programming for young audiences, which led her to discover musical theatre in its many forms.

Her vocabulary links musical and dance improvisation, with a particular focus on the link between voice, instrumental gesture and body movement. Through her work with young children, she has created a non-narrative, poetic form of writing that links the body, voice, music, the visual arts and the imagination. Starting with a focus on bodily presence that resonates with the state of early childhood, she has developed a scenic form of writing made up of sounds, images, rhythms, bodies and architecture in movement. She likes to question stage forms, adapting her shows for different contexts and audiences. Her love of nature has led her to create forms of ‘landscape theatre’ designed to be performed outdoors.

She accompanies artists in their creative work: Florian Allaire for the direction of Brin d’Air (Cie A tous Vents, Puy de Dôme), Frédéric Obry for the creation of his company for young audiences and the direction of Frères Bricolo (La Waide Cie, Amiens, created at the end of 2016), Bric et Broc (May 2018) and Attrape-moi (2019), Bérengère Altieri Leca with Tuba Danse and Okami (co-produced by Cie du Porte-Voix/La Ravi, Bondy), Gonzalo Campo for development consultancy for Cie Le Son du Bruit (Sens) and the solo Ito.

For several years now, she has been developing workshops and training courses for very young children and childcare professionals. She teaches at the CFMI d’Orsay at Paris Sud University, where she trains future dumistes (musicians who work in schools) in stage work and the creation of small-scale musical theatre productions.

She is elected to the Board of Directors of Scènes d’enfance-Assitej France, where she sits on the “international” working group, and is involved in the Ile de France platform and the Puzzle network.

A musician trained at the Institut d’Etudes Musicales in Clermont-Ferrand, he is actively involved in developing the regional improvised music scene. Composer and saxophonist with the Mozaïc Quartet, he has performed Confluence and Dépaysage, the two original albums by this jazz group. He has mixed Brazilian music and French chanson with various groups, and is currently interested in electronic music and soundscapes.

A qualified school musician (DUMI), he runs artistic projects with primary and nursery school pupils, and supervises initiatives to raise awareness of improvised music in vocational colleges.

As part of the Culture and Early Childhood programme at Transfo, the Art and Culture Agency for the Auvergne region, he regularly works in early childhood facilities with very young children, and also as a trainer for childcare professionals (schools for educators of young children, nursery schools, etc.), questioning the role of the adult in relation to the “child-explorer of sounds”.

Within the Compagnie A Tous Vents, he continues his artistic research aimed at young audiences, encourages encounters with artists from diverse backgrounds and develops the transmission of his experience as part of the training courses he runs.

She trained in dance with Dominique Bagouet, Odile Duboc and Andy Degroat, Mark Tompkins, Dominique Mercy, Hans Zulig from the Essen school (Pina Bausch), Thierry Bae and in theatre at the Atelier de Blanche Salant and with Tapa Sudana (actor with Peter Brook, trainer with Footsbarn cie), and Pierre Byland (clown technique). She trained as a singer with Hélène Delavault, Laurence Saltiel and Christiane Legrand, and at the Studio des variétés with Laurent Mercou.

She has danced with several contemporary dance companies: Odile Duboc, Andy Degroat, Didier Théron, V.O Traits de Ciel directed by Thierry and Marion Bae. She has also worked with the Philippe Genty company and Les Piétons, a vocal and movement theatre company directed by Jean-Marie Maddedu. She choreographs for Zic Zazou and creates her own shows for young audiences with her company, La RAVi, where she explores the synergy between materials, puppets, movement and music. She has worked with the Cie du Porte voix since 2009, in Passage, Primo tempo, Primo Tempo… en plein air, Quatuor à corps and 4 à 4.

She organises improvised events bringing together dancers, musicians, actors and painters: the Improvisoires. She sang in the group La Rasbaïa created by composer Jean-Luc Priano.

She has taught for many years in various cultural centres and conservatoires, and gives courses and masterclasses in the provinces and abroad. She creates multidisciplinary productions for the CHAM classes at the Bondy conservatoire and at the CFMI in Orsay.

Seduced by the power and rhythm of African and urban dance, Colline trained from 2002 to 2013 with various choreographers in hip hop, modern jazz and Afro-contemporary dance. Keen to nurture her creative process and explore the possible intersections between public space, stage installations and physical performance, she regularly takes part in workshops on waacking (Afro-American street dance) and participatory dance experimentation (Reicko LAB), as well as immersive choreographic projects including Graphic Cyphers (Anne Nguyen) and Le Grand Bal (José Montalvo).

She has also been training as a singer since 2013, and in 2015 joined an alternative music group, specialising in singing and percussion. She joined the women’s trio TAMAM to explore voice/body interactions.

Holder of a BAFA and a Master 2 in Clinical Psychology and Psychopathology, her career as a dancer-choreographer-singer, with performances, solos, small formats and collective projects, has for several years been inseparable from her cultural activities: dance and spoken word workshops for teenagers in the ACTE programme (Sevran), workshops with autistic and psychotic children at the Silence des Justes (Paris), a cultural project with the Paris Mozart orchestra in schools and colleges in Sarcelles, and a creative project with young adults in local missions in the Val d’Oise.

Her approach is based on a constant desire to engage in dialogue with others through movement and sound, and to research bodily energies and synergies in order to develop a personal language that gives people a different access to being and to “Living Together”.

She initially trained as a literary scholar and historian, before moving into cultural project management. In 2008, she obtained a Master 2 in Engineering for Cultural Professions, specialising in Live Performance, from the IUP Denis Diderot in Dijon – University of Bourgogne.

She was the administrator of the Festival Musiques de Notre Temps in Charenton-le-Pont and then of the Compagnie Isabelle Starkier in Paris. Since 2010 she has also worked with drama companies that place contemporary writing at the heart of their approach; Compagnie Ascorbic (Une Recrue, Cette présence juste derrière moi, Marianne sur un fil, Urbain Sensible, Lest(e) written and directed by Noémie Fargier), Compagnie Ia (Jardins Suspendus written and directed by Camille Davin), Compagnie La Main Gauche (Alors Carcasse by Mariette Navarro and Intégral dans ma peau by Stéphanie Marchais, directed by Frédéric Andrau) and LA BASE (structuring the company, producing the shows PLACE and soon Brûlé. e.s and ISTIQLAL, written and directed by Tamara Al Saadi).

In 2018, she extended her artistic scope to shows for young and very young audiences and began working with the Compagnie du Porte-Voix.

A multi-instrumentalist, composer, actor and teacher, Gonzalo Campo has been working since 1998 with leading French street theatre companies such as Oposito (Transhumance, Les Trottoirs de Jo’Bourg, Toro, La Caravane de Verre/ Kori Kori), “Les Piétons” (Rue de l’Attribut / Brut de décharge / Haïcuc), Décor sonore (Urbaphonix / Instrument Monument), Déviation (Murmurant / Bavardages / Des noces en noir et blanc). He has performed at numerous festivals in France, Austria, Germany, Syria, Jordan, Belgium, Morocco, Venezuela, Brazil, Reunion Island, Mexico, Switzerland and Singapore.

He has played and recorded with many artists: Les Martine City Queen, Le Bal des Martine, La Rasbaïa, Le Nomade Quintet, Alison Young, Tomuya, Bernard Lavilliers, Lio, Pierpoljak, Wasis Diop, Hugh Coltman, Claude Barthelemy, Teddy Lasry, Talila, Michel Moglia, Le Horse Raddish, Les Goguettes (as a trio but as a foursome).

He has been working with the Compagnie du Porte-Voix since 2011. En 2015, il crée la compagnie Le Son du Bruit, basée à Sens (89) qui propose des spectacles jeunes public (iTo aux pays des sons) , des duos musique et danse avec des projets de création participative avec des amateurs (Tierra Urbana Project, Iroko) et des performances in situ, ainsi qu’un travail avec des mineurs isolés sans papiers, les centres sociaux, le Centre d’action médico-sociale précoce (CAMSP), et le service d’éducation spéciale et de soins à domicile (SESSAD).

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Educated at the University of Lille III, she obtained a DEUG in cultural mediation in 2007, while training on the ground to coordinate cultural events with cultural players in the Lille region, taking advantage of the city’s artistic abundance thanks to the Lille 2004 European Capital of Culture event. She then moved to the Paris region to specialise in project management and in 2009 obtained a professional degree in Social Organisation Management from the University of Créteil.

She works as a development and dissemination officer with companies from a wide range of disciplines, working to democratise culture and promote outreach, contributing to their national and international reputation. She has worked with the companies Black Blanc Beurre, Les Fées Railleuses, Galapiat Cirque, Odile Pinson and Le Fil de Soie, and is now working with Florence Goguel and companies from the Puzzle collective on shows for young and very young audiences. She provides support to artistic teams on one-off or long-term assignments, depending on the life of their project.

Along the way, she came across art therapy and now divides her time between art and care, offering dance movement therapy workshops in hospitals and prenatal dance classes.

Paco Galan is lighting designer and stage manager for several companies (Compagnie du Porte-Voix, Vertical Détour, Compagnie La Licorne, La Ravi) and venues, including Théâtre Ouvert in Paris and Théâtre Berthelot in Montreuil.

Paco Galan also builds sets for the cinema and for a number of theatre companies, including Compagnie du Porte-Voix, Compagnie Bigarrure, Théâtre Babylone and Compagnie du Menteur.

Flutist, pianist, accordionist, singer and actor, Solen Imbeaud’s favourite pastimes are meeting people and developing shared projects and desires. A landlubber who loves the sea and the wind, his roots are also to be found on the slopes of the Monts d’Auvergne, where traditional melodies flow.

Since 2019, he has been working on the Les Semeurs project with director Florence Goguel, associate artist at the Scène Nationale du Beauvaisis. He can also be seen regularly with Tiennet Simonnin, Camille Raibaud and Sophie Bardou in Les rejetons de bal, a swinging folk group.

He has also written a number of shows for young audiences, including: Le Pays des Grenouilles (over 1,000 performances to date), Bons Cailloux de Crocassie (Coup de Coeur Charles Cros 2010) and Les Enfants du Bal (Coup de Coeur Charles Cros 2015).

He has performed at Chorus 92, Les Rêveurs Eveillés, Komidi, Nuit Trad Actuelle, Avignon Off 2011 and 2012, Salle Gaveau, Cité de la Musique, Théâtre Jean Vilar de Suresnes, Théâtre Anne de Bretagne de Vannes, La Comédie de Clermont Ferrand, Carré Belle Feuille de Boulogne Billancourt, Le Pin Galant de Merignac, La Ferme du Buisson à Noisiel, Le Volcan au Havre, Palais de la Culture de Puteaux…

Since 2015, he has also been involved in developing projects for theatre and musical theatre companies. He has been working with Waide Cie since 2016 and with Les Moutons Noirs since 2019. He has also been part of the Gennevilliers Festival production team since 2018.

Drawing on his experience with the Compagnie Zic Zazou since 1991 (Brocante Sonore, LPP9, Clap’s, etc.), Frédéric Obry has developed a musical and gestural language in which sound objects serve poetry and theatricality. Whether the instrument is invented or an object diverted from its original function (Gourdophone, Cordobasse lamp, Kodak reel guitar, Mushroom bells, Bambouphone…), it is part of a scenography that serves the play’s dramaturgy.

Since 2011, he has been working with La Compagnie du Porte-Voix as a musician, composer, instrument maker and outside observer, enabling him to understand the particularities of shows for children, such as duration, rhythm and dramaturgical construction.

In 2015, he set up La Waide Cie, which works with young audiences and offers inventive, poetic musical theatre that opens up a world of renewed imagination for children and the adults who accompany them (Les Frères Bricolo, Bric & Broc, Attrape moi).

Colombian-born Miguel Ortega is a self-taught dancer. After training as a graphic designer, he danced in the streets of Bogotá. Improvisation is the basis of his personal research. He received a grant from the Colombian Ministry of Culture to come to France.

In Paris, he obtained a state diploma as a “contemporary dance teacher” and joined the Pal FRENAK company, with whom he took part in the creation of several shows. Interested in teaching, Miguel has also developed an awareness of dance with different audiences: children, amateurs, professionals, as well as people with disabilities and autism. At the same time, he choreographs his own solos: Funam-bulle, Corps-solo, Gravitando and Pasajero! In 2018 he created the duo TIERRA URBANA with the musician Gonzalo Campo.

Curious about other artistic forms, Miguel works on multidisciplinary projects with musicians, photographers, visual artists, video artists, etc. In 2007, he joined Compagnie PIETRAGALLA (Conditions Humaines, Sade, Marco Polo). In 2012 he began teaching at the Pontault-Combault Conservatoire (contemporary dance and improvisation, ballet, hip-hop and dance/music initiation). In 2013 he joined the Compagnie du Porte-Voix (Quatuor à Corps, Quatre à quatre, Timée ou les semeurs des étoiles, Les Semeurs).

After studying music, science and architecture, he explored the worlds of world, contemporary and improvised music.

In 2014, he collaborated with luthier Fred Pons, with whom he learned violin-making techniques. He has written music and designed sound stages with the Médiane company (La stratégie de la seiche), the Waide company (Les frères Bricolos, Bric et Broc, Attrape-moi), the Porte Voix company (ANiMA), the La RAVI company (Apprends-moi), the Minute papillon company (Tout Neuf) and the Acta company (Dans les yeux des autres).

He writes music for the theatre and works with directors Ned Grujic, Rafael Bianciotto, Terra Vandergaw, Dimitri Dubreucq, Benoit Lavigne and Mario Gonzalez. He writes for contemporary dance with choreographers Claudia Gradinger, Marion Bae and Bérengère Altieri-leca. He accompanies readers and storytellers Marc Roger and Simon Gauthier and produces albums of French chanson by Céline Caussimon, Michel Jeanneret and La Rasbaïa.

Videographer and performer Stéphane Privat made his debut in 2006 with Groupe Composit and has been responsible for the video creation of a number of shows and multimedia installations: TIMÉE ou les Semeurs d’Etoiles for Compagnie du Porte-Voix; Le cri de l’humanité, a choreographic piece for four dancers and a video; RVB en Alpha, a multimedia performance; and Cathodique-moi! an interactive installation.

Today, Stéphane combines original creations and scientific research in the field of film and video aesthetics. Through video creations for live performance (You scared me), artistic performances (Les veilleurs d’images, A l’ordre de sa propre nuit) and photo/video installations (Hors Champ), he is interested in the intervention of the image – that “thought that would not allow itself to be thought” (Maurice Blanchot) – as a factor in stage and film writing.

Stéphane Privat is also preparing a thesis in Film Studies under the supervision of Barbara Le Maître (Université Paris Nanterre, Histoire des Arts et des Représentations laboratory). He is in charge of the “Cinema and Multimedia” and “Film Analysis” courses at the University of Paris Nanterre and the “Theory of Cinema” course at the University of Paris 8.

Training in photography led Gilles Robert from the lights of the city to the lights of the stage. In the mid-1980s, he worked as a lighting technician and soon afterwards as lighting manager for the Athanor, a subsidised stage in Albi, the future national stage of Albi.

Some ten years later, with a long apprenticeship in theatres and stages in the south-west of France, he built up his expertise in lighting design and stage management. In particular, he was behind the Vaour summer festival, for which he was technical director until 2013. At the same time, he has created the lighting for all the Zic Zazou company’s shows since 1992.

Abhorring compartmentalization and artistic chapels, he has happily crossed paths with artists such as Brigitte Fontaine, Carla Bley, Christian Vander, Dede Bridgewater, Eddy Louis, Fly & the Tox, Hermeto Pascoal, Jack de Johnette, Jaco Pastorius, Joan Baez, Joe Zawinul, Cie Lapin, Léo Feré, Cie les insurgés, Louis Sclavis, Michel Petruccianni, Michel Portal, Olivier Py, Paolo Conte, Cie Parole Buissonnière, Patty Smith, Pierre Henry, Richard Galliano, Roger Hodgson, Sarclo, Stéphane Grappelli, Vertige mécanique, La Waide Cie, Wayne Shorter, La Compagnie du Porte-Voix.

Passionate about working with textiles, Marlène Rocher currently works as a costume designer, textile designer and dyer.

She obtained a BTS in textile design (ESAA Duperré) in 2005, and a DMA in costume design (lycée la Source 94) in 2007, enabling her to combine concept and technique. She acquired a range of skills working for various theatre, circus and dance companies, as well as for the Théâtre du Châtelet, the MAC in Créteil and the Château de Versailles, where she experimented with dressing, alterations, workshops, design, dyeing, etc.

Since 2011, she has been specialising in work for young audiences, which leads her to envisage real continuity between bodies and space, and to invent living textile scenographies.

Her research has led her to take an interest in natural materials, which are more welcoming and vibrant. Then the material meets the colour, and a whole range of techniques and inventions are born in the course of each creation. The sets and costumes are invaded by moss and bark of fabrics that curl up, drawing trees and hills, deserts and abysses, sky and earth… The fabric comes to life, transforming itself on the moving bodies, in settings that shimmer in the artificial or natural light. Inspired by plant dyes, the vibrancy of natural colour becomes a true source of inspiration. Silk, wool, linen and cotton become canvases for changing imaginary landscapes. Each creation is an opportunity to create a subtle world that plunges spectators into the heart of a rich and singular visual imagination.

She has worked with the Porte Voix and Loup Ange companies, as well as La Balbutie, A tous Vents and La Waide.

Martha Rodezno is a dancer/performer with a number of companies (Kitsou Dubois, Maïté Fossen, Jacques Patarozzi, Dominique Petit and Isabelle Dubouloz), having trained at the École Nationale de Danse du Salvador and in Paris. Interested in the process of improvisation, she trained with Kirstie Simpson, Soto Hoffmann, Andrew Morrish and Julyen Hamilton.

She is also a choreographer and teacher (with a diploma in Perceptive Pedagogy, derived from fascia therapy using the Danis Bois method, plus a D.U. in Art Therapy and Movement from the University of Lisbon).

As part of the “Almasdream” company, she presents several of her creations in France and abroad. She began a process of research to find bridges and integrate sensory movement into contemporary dance, improvisation and creation. She also pursues her own personal development through performances and improvisation with other artists.

Her passion and curiosity for the body in movement has led her to collaborate with other teachers who have a particular interest in the body and gesture: Marika Rizzi for contact dance, Aline Lecler for osteo awakening and contact dance, Barbara Bourlet for Anna Halpring’s Life Art Process, Jules Beckman for the organicity of movement, Carlo Locatelli for dance and a sensory approach to anatomy, Thierry Heynderickx for Perceptive Pedagogy and the expressiveness of the Sensible, and Nadine Querée, fasciatherapist and researcher in bioténségrité, all methods for developing and caring for the individual through movement.

Her work is developed through regular classes and various courses she offers in Paris (Canal Danse) and in the provinces (Rouen, Lannion, Bordeaux, Strasbourg, Dordogne, at the Ecole Supérieur National du Cirque de Chalons en Champagne and at the Ecoles Municipales Artistiques de Vitry-sur-Seine).

She has also worked on several projects for other companies and artists, either as a choreographer or collaborator, including Claudia Nottale, Rita Marcher, Florence Goguel’s Compagnie du Porte Voix, Laurence Pagés’ Compagnie du Petit Coté, the Compagnie du Tempo Cantabile by Ghislaine Avant, the Compagnie Azeïn, an aerial frame duo, artists from the Ecole Supérieur du Cirque de Chalons en Champagne, the Cie des Orpailleurs, the Cie du Passeur, the clown and dancer Carole Tallec.

Sylvain Trousselle works in a wide range of fields, producing visual poems, documentaries, dance videos, web series and live performances.

With a dual aesthetic and human approach, he seeks to capture a little of each person’s being through their movements, their gait, their presence, their expressions, their history and their words. His work is based on a number of themes: movement, bodies, exchange, encounters, memory, traces, the human presence in the world…

Trained as a historian, his main areas of research are the memory of people and places, and the traces left by history that shape landscapes and people. His latest creations include Le sentier des âmes, a documentary produced as part of the Traces et effacement de la Grande guerre project in a Correzian village, and L’engrangeur, a portrait of Régis Coudert, a compulsive hoarder of objects, toys and farming tools.

At the same time, he has been involved in a number of educational projects: he has worked as a teacher for Ecole et cinéma and Collège au cinéma in Livry-Grargan and Bondy, is in charge of the photo/video unit in the youth department of the town of Montfermeil, and has been an artist for the association Ida Y Vuelta for many years, working on projects such as Traces (creation in urban spaces), Résonances (artistic expression workshops in secondary schools, with the production of 6 short films) and Get Up (creation of video self-portraits in partnership with the École de la deuxième chance).

He regularly films live performances. He has produced all the Compagnie du Porte-Voix recordings and teasers.

After a solid training in dance and music at the Conservatoire National de Toulouse, Tania Volke began her career as a contemporary dancer. For ten years, she worked with various companies and choreographers.

At the same time, music is always present. And during her tours, she became increasingly interested in sound technology. Ever more curious about machines and mixing desks, she decided to train for her new job as sound manager.

Since then, she has provided sound for numerous events, concerts and shows. First she met the vocal group Catimini, with whom she created and toured two shows over several years. Then she crossed paths with Anne Théron. It was a turning point in her experience as a sound engineer. The demands and precision of the soundscape in her plays are almost cinematic. She worked with Anne Théron and her sound designer Jean-Baptiste Droullers for several years.

Then she met Florence Goguel and her Compagnie du Porte-Voix. A new world of musicals for young audiences. Daring, inventing instruments, breaking with codes, it’s yet another new way of approaching sound. Sound becomes an actor, sound makes people laugh, sound becomes matter.

While continuing to collaborate with various artists, she toured with Yoann Bourgeois and assisted in the creation of the company Les Anges au Plafond.