The company Infime Entaille was created in 2016 upon Maëlle Reymond's intitiative.
Its first creation Le Silence du Sable sets a sensitive, instinctive, reactive and organic intentional style, intuitively founded upon listening. It takes its inspiration from the musicality of things and their resonance.
Not wishing to establish a specific sense to its work, but mainly make sense, a sense that cannot be bypassed, the Company has developped corporeal tales, in which the actual narrative is neither directive nor direct. It gives the viewer the freedom to imagine, shows a certain balance the secret of which will not get revealed. Thanks to a proven and artifice-free dancing, it places the body at the heart of action, in its most powerful and nevertheless delicate aspects.
The ambivalence between strength and fragility is what the work of the Company is essentially founded upon. As with the links between infinitely big and infinitesimally small. It acts as a recurrent search, an attempt to reach immensity via minuteness, as if willing to lift the outer layer of things to extract their essential. Through the body, each research aims at expressing all sorts of things in all kinds of languages, with this particular faculty of extracting a whole universe from a mere detail.
Always at the rim, its approach places the Company in-between, within an uncertain space, as in transition. Astride between departure and destination, between inside and outside, between a human body and a material one. It cunningly and nevertheless gently endeavours to discover the flaw, the passageway, the ambiguous moment in which eveything may swerve, when the spectator's perception may be troubled, toppled, turned upside down, jolted.
Its first creation Le Silence du Sable sets a sensitive, instinctive, reactive and organic intentional style, intuitively founded upon listening. It takes its inspiration from the musicality of things and their resonance.
Not wishing to establish a specific sense to its work, but mainly make sense, a sense that cannot be bypassed, the Company has developped corporeal tales, in which the actual narrative is neither directive nor direct. It gives the viewer the freedom to imagine, shows a certain balance the secret of which will not get revealed. Thanks to a proven and artifice-free dancing, it places the body at the heart of action, in its most powerful and nevertheless delicate aspects.
The ambivalence between strength and fragility is what the work of the Company is essentially founded upon. As with the links between infinitely big and infinitesimally small. It acts as a recurrent search, an attempt to reach immensity via minuteness, as if willing to lift the outer layer of things to extract their essential. Through the body, each research aims at expressing all sorts of things in all kinds of languages, with this particular faculty of extracting a whole universe from a mere detail.
Always at the rim, its approach places the Company in-between, within an uncertain space, as in transition. Astride between departure and destination, between inside and outside, between a human body and a material one. It cunningly and nevertheless gently endeavours to discover the flaw, the passageway, the ambiguous moment in which eveything may swerve, when the spectator's perception may be troubled, toppled, turned upside down, jolted.
Compagnie Image
Maëlle Reymond
She was trained as a choreography artist at Coline in Istres and strarted working as a performer with the compagny Adrien M & Claire B in 2013 for the création The Movement of Air . In 2017, she entered the circus compagny Le Jardin des délices directed by Luna Rousseau and Nathan Israël for the creation La Chose, as well as Guillaume Bertrand's compagny 13ème Quai for the creation Scoparium . In 2016, she founded the compagny Infime Entaille, and she was the recipient of Création en cours 2018 grand set by the Ateliers Médicis.
Her choreographic research relies on the tangible inside and outside bonds that the body establishes . The discovery of the Buto dancing in 2013 utterly altered her work as a performer and she has thus started to deepen her awareness of details and the relationship to movement as essential.
Her choreographic research relies on the tangible inside and outside bonds that the body establishes . The discovery of the Buto dancing in 2013 utterly altered her work as a performer and she has thus started to deepen her awareness of details and the relationship to movement as essential.
Jérémy Chartier
After studying History of Art, he got involved in live performing arts as a gaffer in 2008. Highly interested in music, he bought instruments from all over the world along the years, and trained for CAM and multi diffusion. He worked regularly as a musician, gaffer and stage manager for the company Adrien M & Claire B. In 2015, he composed and performed on stage the show The movement of air. He has also worked for varied compagny : Le théâtre du Réel, DDM, La parlote, Vox, Alphonse et Cie, Fearless Rabbits as well as the music group Rilojosa. In 2018, he founded the collective Bleu Corail with Marion Lucas. For the compagny Infime Entaille, he is, together with Christophe Sartori, fully in charge of lightings, videos, sound.
As a musician, he is sensitive to the experience of direct acoustic vibrations. He loves to play on the dichotomies that are proper to music, whether it is collective or individual, art or folk, luxuriant or minimal, spiritual or sensual, divine or common.
Christophe Sartori
Trained as a technician, he entered the Grand R Scene Nationale team in 2000, where he met the choreographer Yvann Alexandre, for whom he composed sound tracks for 18 years. He aslo worked with the Théâtre des Cerises, the compagny du 2ème, the choreographer Ezio Schiavulli, and since 2014, the compagny Ke Kosa, the collective Extra Muros, the photographer Delphine Perrin and the plastic artist Serge Crampon. In 2003, he met Adrien Mondot en 2003 at the time of Convergence 1.0 and took part of the writing of sound track while ensuring stage management. He then worked for the compagny Adrien M & Claire B. For the compagny Infime Entaille, he is, together with Jérémy Chartier, fully in charge of lightings, videos, sound.
Starting from electronic samples, sometimes mixed with live electroacoustic compositions, he imagines sound backgrounds, and creates musical landscapes that add up to the visual experience of the show.
Infime entaille
"Because I am keen on details,
on the string of minute details,
on the infinitesimally small, the uniqueness,
the tip of salt,
the grain of sand
that remains stuck,
that itches,
that scrapes the surface,
smoothes things,
makes one go to pieces.
I relate to a specificity,
rough and slightly flawed,
that gives a strange
but attractive identity,
that one will not refuse to hold in one's arms,
to either choke or embrace, noone knows.
I look for the mystery of these things,
so special, so moving, so peculiar
that are neither beautiful nor ugly
but enthral by their obviousness, their grip
as evidences that cannot be explained."
on the string of minute details,
on the infinitesimally small, the uniqueness,
the tip of salt,
the grain of sand
that remains stuck,
that itches,
that scrapes the surface,
smoothes things,
makes one go to pieces.
I relate to a specificity,
rough and slightly flawed,
that gives a strange
but attractive identity,
that one will not refuse to hold in one's arms,
to either choke or embrace, noone knows.
I look for the mystery of these things,
so special, so moving, so peculiar
that are neither beautiful nor ugly
but enthral by their obviousness, their grip
as evidences that cannot be explained."
"There is often nothing to say, I often make a big deal of it."
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SIRET : 820 994 705 00011
APE : 9001Z
N° de Licences : PLATESV-R-2022-008812
APE : 9001Z
N° de Licences : PLATESV-R-2022-008812