Creation Residence  
L'animal a l'esquena (Celrà)
From 23/01/2012 to 11/02/2012
Presentation :
On 10/02/2012 at 20:30 in L'animal a l'esquena (Celrà)

Baro d'Evel circus Company
( Baro d'Evel circus Company, Camille Decourtye, Blaï Mateu Trias )

It is a research, a dive, a quest to their inner animal.
It is starting off a search for a mystical or real horse,
like a ceremony, a sort of rite, a research, like an obsession
to release the body, to let it take the power.
It is playing with the bodies as with sound boxes,
playing with the bodies as with canvases,
to enter the intimacy of the breathings of expirations
it is a path towards indigence, a constant search.
It is being under a red rain, like in a cave,
the matter transforms the space, overflows, squashes,
is poured and then cleaned.
It spills, glides over the bodies, reduces the movement and leaves marks, masks, clowns.
The paint as matter, mother earth, the one changing seasons, the one putting the rhythm to our life cycles, like the time that passes and is encrusted under the skin.

We wanted to return to the showroom to go back to basics, to get us back into research and provide ourselves with the means to focus on our know-how.
We will be two on stage, because there is the desire to find ourselves facing each other and reviewing all our possibilities...
We see this project as a necessary step in the company's artistic research to be able to open further doors.
If certain themes start coming out, if the lines of work are emerging, we would like to go on building our creation in accordance with our usual method: from the encounter with other artists and our research in an isolated way, the lines of force on which this next show will be built are born; this is how Ï or Le Sort du dedans were created, whose drama and coherence are affirmed and legible.
We will register this creation in a multi-disciplinary and cross-border dynamic while collaborating with French and Catalan artists who will enamel our course: the creation of Ï has rooted the French-Catalan identity of the company and the forthcoming creation will reaffirm this double culture that denotes the uniqueness of our company.

Exploration of content

For this new project we will work on the animal issue, looking for the transformation places, the crossroad between man and beast, between man and horse.
We will focus our attention on the fragility of these crossings, the road between 2 balances, between 2 rhythms, between 2 emotions, between 2 bodies, 2 colours, 2 beings.
We will try to capture these moments, these unstable places, there where the body trembles when searching immobility, at the border between the domain and non-domain, between instinct and intelligence.
The important thing perhaps lies in what happens between the pauses between the peaks
when one gets lost, when the body must find the solution,
it is in these crossings that one can trap the other, feel him, find him, there where no more is demanded, there where we let go.... because nothing goes as planned, everything changes, we adapt continuously, without even realizing it.
The movement
We will seek to free the horses we are.
Relying on the pace, we will try our human legs to become animal legs, our bodies to find the instinct. In this search for the primitive movement,
we would like to provoke the metamorphosis of the body, giving rise to dreamlike images.
We will continue our search in the "portés" (hand to hand acrobatics), acrobatics and jumps.
We want to make these sensations of instability, of micro-motion, of unbalance visible;
search the sketch to have another look on the performance, making it more intimate
To reveal the problem of living together with our body work and the movement between us:
What is the difference between taking and supporting?
Does the need for the other deprive us from our freedom?

The music, the voice, the words
The sound research will consist in trying to understand the inaudible, the clearing of the throat, the blows, the frictions.
Through the music we will try to create beats and vibrations with the bodies as a symphony within. We want to deliver sounds that submerge us in the natural elements like rain, wind, snow, heat and cold.
We want to work on the vibration, use the bodies as sound boxes, make a rhythmic percussion work with our body and hands, building on the rhythms of the horse: walk, trot, gallop.
The sound of the impact of the paint on the canvas and the floor will be voiced: while looking for the movement to become a line, the line will become sound.
The paint
If today we feel affected by some prehistoric paintings, by the mystery that arises from naive art, or from the art of the fool, or the street graffiti, it is because these forms evoke in us a vital link with the forces of good or evil, with the harmony of the cosmic order, with the natural cycles...
Antoni Tapies

We will carry out a scenic and plastic search:
We will use the paint as a tool, a means of transformation, and not to illustrate action.
We will try to use the paint for its texture, its pigments, the mineral matter to paint the bodies; the matter will have to be part of the movement.
We want to play empty and full by flooding the stage with matter, the paint should be like an external force, like the natural elements.


Bonnefrite, Benoît Bonnemaison-Fitte, illustrator, freelance graphic designer
Born 1974 in Toulouse, he graduated at the Superior National School of Industrial Development, and lives in Aurignac. Freelance illustrator since the year 200, he defines himself as a "craft manufacturer designer of still and animated images, projectionist designer as well as collector of images".
We have been collaborating with him for two years in the graphic and communication tools of the company. This time we want Benoît to intervene in the process of creation as a collaborator in the plastic and scenic research and to contribute with his sharp eye in the birth of this show. Benoît works on the image, the matter, the transformation, he is a researcher, and it seemed obvious to us to propose to him to share this creation.
Marc Miralta is a musician, drummer and jazz percussionist and has worked amongst others with Pat Metheny, Wynton Marsalis, Gary Burton...
He will accompany the creation in the overall work of percussion and rhythm that we will develop.


Two beings in search of their inner self
because humanity overcomes them
because they have lost their instinct
because the world goes too fast,
too many words, too many letters.
Then their mouths open and release the words
like flying acrobats,
their throats become caves,
they have ancient traces on the wall,
their heads jump into the void,
they start to gallop and jump the barriers.
They want to find their first sensations
preparing, seeking in the ins and outs of daily life
the doors open towards the beginning of all
before the standing men
before the thinking man
be no more than four legs
breath, blow, breathe
find the first breath
the starting point
be a being who breathes
and regards the world

"He is who we would want to be at times,
without him knowing, he thinks, asserts,
he does what he wants, what he likes
what he feels, he let's it know, he let's it feel
he releases freedom
he is a clown,
he listens with the eyes
and talks with the ears.
we try to talk like him,
look like him,
exist like him,
he is a rock star! "

Blaï Mateu Trias

foot, trot, gallop

2 beings there
2 bodies, 4 legs, 4 arms
1 pulsation
be 2
be no more than 4 legs
one pulsation
foot, trot, gallop,
birth, life, death
foot, trot, gallop
child, adult, old
foot, trot, gallop
morning, evening, night
foot, trot, gallop
yesterday, today, tomorrow
foot, trot, gallop
foot, blow, neighing
not, too, gallop
inspire, blow, sing
not, too, gallop
inspire, apnoea, blow
foot, trot, gallop
fall, straighten, relapse
foot, trot, gallop
born, live, die
foot, trot, gallop
bend, push, jump
foot, trot, gallop
back, pirouette, accelerate
not, too, gallop
illusion, look, disillusion
foot, trot, gallop
empty, full, empty
foot, trot, gallop
full, empty, full
foot, trot, gallop
dirty, clean, dirty
foot, trot, gallop
morning, evening, night
foot, trot, gallop
not, too, early
foot, trot, gallop
not, too, late
foot, trot, gallop
gallop, trot, too
foot, trot, gallop
too, not, too
foot, trot, gallop
gallop, too, not
foot, trot, gallop
by foot
foot, trot, gallop
a o

baro d'evel circus company

The circus company Baro d'evel was born from a 2001
collective artistic promotion of the CNAC.
From the first show we defended a search of the circus arts
favouring the manipulation of objects, singing and sound research.
This multidiscipline has been affirmed in 'Bechtout' as well as
in the projects carried out individually.
When we decided to manage the company between the two of us in 2006, certain artistic choices were rooted and this strong identity gave birth to a
travelling circus show, Le Sort du dedans, which allowed us to go further
in our artistic, scenic and sound research.
The language of Baro d'evel is based on the circus know-how
that leads to a special relationship with space and a total
physical commitment,
it is the physical investment, the daily training,
sensations arising from the scenic matter.
Our language is also the matter, the object we approach by the manipulation of the deviation, always turning our attention towards simplicity rather than ostentation, trying to say much with little.
If the starting point of our shows is often a powerful scenic decision, a question on where the viewer is in space, the place of the music is essential, each project is conceived like a score: How should it sound?
What tone, what echo?
The creations are musical and body scores built by successive keys.
To create Le Sort du dedans has been a major step in the building of the company's identity. The construction of our next creation will be done in parallel to the tours of Sort du dedans and Ï:
We will spend working periods of artistic research, of experimentation that we will share with invited artists of disciplinary fields such as dance, singing, painting. In 9 years, the company has lived 6 shows and more than 500 representations in France and abroad (Spain, Austria, Belgium, Italy, Germany,
Cambodia, Japan).

The team

Camille Decourtye, artistic co-director
She grows up in the world of horses, practices gymnastics and studies music at the conservatory. At the age of 17 she decides to form herself in the national schools (ENCR in Rosny-sous-Bois, and then in the CNAC in Châlons-en-Champagne).
She forms herself as an aerial acrobat with the banquine and the bascule and develops a work on the voice.
Parallel to this training she organizes a trip to Brazil to work with the children from the Capao valley on the circus world and is involved in a journey to former Yugoslavia with Clowns Without Borders.
Her approach to acrobatics and voice evolves throughout the creations, always looking for more simplicity and authenticity.
She participates in different voice practices such as world music and gypsy singing and in 2006 she follows a 9 month formation on contemporary music.
In 2004 she takes the step to integrate the horse in the company's projects.
For working in freedom, she looks for a way of communicating through the body to establish a dialogue and give the animal a true place as an actor on the track.
She directs the project Petit Cirque au marché which allows her to experiment the writing and conception of a project on her own. In 2007, she promotes the project
Sort du dedans, charged with a strong desire to create a travelling circus.

Blaï Mateu Trias, artistic co-director
Born in Barcelona, he grows into a family that is bathed in the post-Franco Catalan art currents of street theatre and circus.
He learns in situ along with the company Tortell Poltrona and participates in the first expeditions of Clowns Without Borders (former Yugoslavia, Sahara, Columbia) in which he still continues sporadically.
Self-taught in juggling, clowning and music, at the age of 16 he decides to form himself in France (École nationale de cirque de Châtellerault, later at the ENCR in Rosny-sous-Bois, and at the CNAC in Châlons en-Champagne) to finally rediscover the circus and develop the hand to hand acrobatics, the balancing and the sound manipulation of objects further. His influences are as varied as is his curiosity, constantly expanding his vision of the circus.
With the solo experience of "Ï" in Baro d'evel,
Blaï questions the circus in its form and approaches it to an historic and dramatic matter.
With the theme of the exile of the Spanish Republicans, he weaves links with his country, culture and roots.
Loaded with family experience, he leads his way towards the tent, using his circus know-how to carry out this unique project, Le Sort du dedans.
Different artists have collaborated during the creations of Baro d'evel like André Minvielle, Pierre Heydorff, Sébastien Lalanne,
Dimitri Jourde, Marrion Legrand, Abdel Senhadji, Jean Gaudin, and
Michel Cerda who has accompanied them in four of their creations.
These meetings have been important as they have contributed to the duo's advance in their artistic questioning and ambitions.
Blaï and Camille have been working side-by-side for more than 10 years. They conceive the projects together and are also accomplices and partners working hand in hand on the clown, the music... At the same time they favour experiences and training periods alone in order to maintain a rich and creative complicity.
They seek the balance together, united by the love of raw material, their desire to reveal the human through the movement of the bodies, to magnify our small trifles and our flaws and find the simplicity of the gesture, the sound, the voice...

The team (continuation)

Fanny Thollot, sound creation
Fanny is a graduate of ENSATT; after her thesis on the circular acoustics of the tent, she is interested in the circus and the sound of horses. She joins the company in 2009 at the time of the creation of the show Le Sort du dedans, she directs the sound creation and gives the project a subtle and powerful sound writing. She follows the company in her role of interactive management and becomes an indispensable link of the show.
Adèle Grepinet, lighting design
After a light training at the ENSATT, the lighting research of Adèle Grépinet is not limited to the theatre. Very sensitive to the contemporary art world, she applies her knowledge to the service of light installations. She collaborates with the GDRA, the 'Animae Corpus' company and the 'des Infortunes' company.
The meeting between Adèle and Baro d'evel takes place in 2006 at the moment of the creation of Ï and she creates the lighting of that show in showroom. Happy with this experience, the company wishes to collaborate with her once again in this new project.
Thomas Pachoud, drops machinery
Trained at the IMAC multimedia engineering school , Thomas Pachoud has been interested in the relationship between new technologies and their implementation in arts for a long time. He currently collaborates with structures such as as well as with different artists (the Australian Dance Theatre, Blanca Li, Mabel October, the Ballet of the Rhine, the Fresnoy, Felicie d'Estienne d'Orves, Ezra...). His activity fields revolve around work on real-life image, interactivity, robotics and the practice in the performance and scenic space.
Céline Sathal, tailor for theatres
Tailor and stylist for theatre, audiovisuals and museology, she meets with artisans, tailors, fashion designers, directors and therefore improves her know how and skills in her art.
She mostly works with GDRA and Générik Vapeur. She develops an artistic and artisan research, questioning the relation that approaches the extraordinary to the ordinary, the singular to the usual. She knits, cuts, sews, makes crochet, embroidery and manufactures all handmade in a daily connection with creation.
Marc Boudier, stage manager
After forming himself in the craft of lighting, Marc Boudier multiplies the experiences of stage, design and light management in performance places (théâtre du Colibiri in Avignon, Grande Halle de la Villette, Théâtre de l'Atelier in Paris...) as well as in theatre companies (Cie Rrose Sélavie, Cie L.Serrano, Cie Les Pas Tentés...).
Marc has been collaborating with us for four years now, supporting us with his knowledge as manager in all its variants.
Marie Bataillon, administrator
At the end of a literary training, she becomes the administrator of the company 'Vent d'Autan' for 5 years. Then, for almost 5 years, she takes over the general secretariat of the 'Maison Antoine Vitez'. After this passage through the contemporary writings and translation, she joins the team of Baro d'Evel in June 2010.
Marie Dubois, responsable for diffusion /tour manager
Close to the scenic arts, she studies performing arts, theatre and flamenco, works for the 'pôle cirque de Nexon' for 7 years and then meets the Baro d'evel company which she joins in the Sort du dedans tour in October 2009.

Distribution :
Authors and artists on stage: Camille Decourtye and Blaï Mateu Trias
Collaborators : Benoît Bonnemaison-Fitte ("Bonnefrite", designer and graphic artist), Maria Muñoz and Pep Ramis (Mal Pelo : creative group, work based on movement).
Light creation: Adèle Grépinet
Sound creation: Fanny Thollot
Costumes : Céline Sathal
Stage management: Marc Boudier

Co-productions : Pronomade(s) in Haute-Garonne, National Centre of Street Arts; The Theatre Mercat de les Flors in Barcelona ; The Canal –Performing Arts Centre of Salt-Gerona ; The Verrerie d'Alès, National Centre of Circus Arts Languedoc-Roussillon and the Festival Montpellier-Danse 2012 ; the Festival La Strada in Graz (Austria)
Production : Baro d'evel cirk cie

With the support of 'L'Animal a l'esquena' in Celrà and the national scene of Petit-Quevilly / Mont-Saint-Aignan

With help of the Culture and Communication Ministry / Drac Midi-Pyrénées, of the National Council Midi-Pyrénées and the General Council of Haute-Garonne

 25/11/2012 Article Punt Diari (MAZUT)
 11/02/2012 Article Diari de Girona (MAZUT)

 264/1 Activity Announcement [Text > Cat] (10/02/2012) 
264/2 Activity pictures [Image > 23 ] (10/02/2012)