La reprise de répertoire

After studying literature and attending the Conservatoire National d’Art Dramatique acting school, Sophie Deschamps performed in more than a dozen plays. She then became a television scriptwriter, writing around 30 TV films.

Sophie Deschamps also writes for the theatre, with works such as La disgrâce de Jean Sébastien Bach, L’abbé́ de Choisy habillé en femme, and La boutique des miracles (in production).
Elected several times to the board of directors of the SACD authors’ rights society, where she served as president for five years, she is currently an administrator on the board.

Author, director, performer, and director of the nationally recognized cultural venue La Maison des Jonglages, Vincent Berhault has been working in the creative circus sector for nearly 30 years.
Trained as a juggler, he now serves as the artistic director of Compagnie Les Singuliers and has worked on productions where body, objects, music, and text are intimately intertwined. A graduate in anthropology and international relations, he has initiated creative projects with Turkey and is currently pursuing research into art and science. He is an associate artist at IREMAM (Institute of Research and Study on the Arab and Islamic Worlds). Vincent Berhault is vice president of the Territoires de Cirque professional network.

Florence Caillon has pursued parallel activities for more than 20 years: circus choreography and film music composition. She has developed a body language she calls the choreographed circus, and is particularly interested in choreographing the circus vocabulary using states of the body and different principles of dance writing.

Guy Carrara started out as a theatre director, before moving on to the world of the contemporary circus. In 1986, he helped found the Archaos company. He has written or co-written the company’s 20 productions, including works such as Le Chapiteau de Corde, The Last Show on Earth, Bouinax, Metal Clown, Game Over, In Vitro, Margo, Parallèle 26, In Vitro 09, and Somewhere and Nowhere.
In 2001, with Raquel Rache de Andrade, he brought the company to Marseille, and Archaos was awarded the official national circus center label in 2011. In 2015, they created BIAC (Biennale Internationale des Arts du Cirque). In 2023, they co-wrote the book ‘Écrire le Cirque-La Méthode ANCAR’.

Elena Dapporto is an inspector and a reference person for the circus within the theatre and associated arts college of the ICA – Inspection de la Création Artistique, at the DGCA oversight agency for artistic creation at the French Ministry of Culture. She has been following the circus sector for many years, first as a project manager with the DGCA and then with the Inspectorate, and more broadly as an enthusiastic observer of developments in the sector.

Charles Jacquelin is a historian and inspector in the Versailles education academy. He was involved in drawing up the special circus arts syllabus for the French baccalauréat (high school degree). A former teacher at the national circus school in Rosny-sous-Bois, he is also the author of teaching guides for the ‘Pièce (dé)montée’ collection (Canopé) and articles on the circus arts. A doctoral student in theatre studies and performing arts at the Université Paul-Valéry Montpellier 3, he is interested in the manner in the circus has become part of mass culture.

Trained as a dancer, Pierre-Marie Quéré has been a producer and event creator for 15 years in France and internationally. He was co-director of the Rosella Hightower national dance center in Cannes-Mougins from 2009 to 2020 and of the ENDM dance school in Marseille from 2012 to 2016. He was general secretary of the CNAC national circus arts center in Châlons-en-Champagne between 2020 and 2023. In March 2024, he became Director General of the PESMD music and dance school for Bordeaux Nouvelle-Aquitaine. He is co-president of Anescas association of stage arts schools and a qualified reference for the government’s CNESERAC council on artistic and cultural research and education. His cross-disciplinary career in higher education related to the performing arts has led him to examine the repertoires of dance, circus, and music.