Choreographer, dancer and director

Guillaume Marie was born in Caen (F) in 1980 and currently lives in Paris. He studied at the Ballet School of The Paris Opera between 1990 and 1995 and at the Conservatory National of Music and Dance in Paris bet- ween 1995 and 1999 where he graduated.

In 2000 he began his career as a dancer-performer and performed internationally with various artists such as: Maryse Delente, Itzik Galili, Thierry Smits, Gael Depauw, Martin Butler, Jonathan Capdevielle, Gaëlle Bourges, Marlène Saldana & Jonathan Drillet, Guilherme Bothelo, Cindy Van Acker, David Wampach, Romeo Castellucci, Jan Fabre or Gisèle Vienne. Since 2006, Guillaume develops his own work and is regulary produced and touring in France and abroad (la ménagerie de verre (F), Théâtre de Vanves – Festival Artdanthé (F), Teatre Lliure (S), Lev Festival (S), Dance December Bruges (B), Festival a/d Werf Festival (N), Alhondiga, Bilbao (S), Emmetrop (F), Julidans (N), etc.).


2019 Nervous System 2020, in collaboration with Marcel Weber/MFO, Berlin Atonal
2013 CARLOS MARIA ROMERO, GUILLAUME MARIE, NAMES OF THE SPECTATORS SEPARATED BY COMMAS, Il Faut Bruler Pour Briller,Paris; Donau Festival (A); Festival Les Urbaines, Lausanne (S)
2011 INTRUSION, Musée d’Art Moderne et Contemporain de Strasbourg
2007 26TH of October, Barcelona
2007, in collaboration with Maria Stamenkovic-Herranz , Hangar (S), Santa Monica Museum, Barcelone
2006 We Are Accidents Waiting To Happen, in collaboration with Jonathan Capdevielle, Palais de Tokyo (Paris)

Stage works:
2019 ROGER – in collaboration with Igor Dobricic & Roger Sala Reyner – premiere in situ à Open Spaces ! Tanzfabrik, Berlin, premiere France at Rencontres Chorégraphiques Internationales de Seine-Saint-Denis
2016 Ruin Porn – in collaboration with Igor Dobricic & KK Null, premiere at Festival Etrange Cargo, la ménagerie de verre
2013 Edging – in collaboration with Igor Dobricic & KK Null, premiere at festival Les Inaccoutumés, la ménagerie de verre
2012 Spektrum – in collaboration with Vidal Bini, premiere at Pole Sud, CDCN-Strasbourg
2011 AsfixiA – premiere at Emmetrop, Bourges 2010 Nancy – premiere at Teatro de la Laboral à Gijon (S)
2010 NANCY: Score for a dancer – Guillaume Marie, Dramaturgy: Igor Dobricić Created in collaboration and performed by: Suet Wan Tsang
Created at LEV Festival, Laboral Teatro, Gijon (S)
2008 Trigger – in collaboration with Maria Stamenkovic-Herranz, premiere at Teatre Lliure, Barcelona (S)

Short films:
2009 Spinnen 30’, Emmetrop (Bourges)
2007 Private Earthquakes 15’, Videodance Athens

2011 Bourse à la vocation, Fondation de France 2011 Prix Fondation Marcel Bleustein-Blanchet (President: Elisabeth Badinter) for AsfixiA
2009 Aide à l’écriture de la Fondation Beaumarchais-SACD

Els Deceukelier


Fetish actress and muse of Jan Fabre, Els Deceukelier (B) performed in most of his plays and choreographies since the early 80’s (Je Suis Sang, Parrots And Guineas Pigs, As Long As The World Needs A Warrior’s Soul, and many others). Their collaboration includes the solis monologues Zij WAS In Zij Is, Zelfs, Vervalsing Zoals Ze Is, Onvervalst and Female Normal- To-Die-In. In 1999, she played with Jan Decleir in Het Nut Van De Nacht. In 2004, she again holds the top of the poster with the (double) solo She Was And She Is Even / Given. All these solis works have been touring worldly for many years and met a big success. Since 2012, she collaborates with Coraline Lamaison including the creation of Narcissus-2.0 at Tanzhaus Düsseldorf, and the Death Of Sentiments in 2014. In 2014-2015, she is part of Mount Olympus, the 24 hours project by Jan Fabre.

Cédrick Debeuf

Costume Designer

Cédrick Debeuf est né à Orléans en 1979, et vit actuellement à Paris. Après avoir étudié les techniques de haute- couture au lycée Choiseul à Tours entre 1994 à 1997, il a obtenu son Diplôme des Métiers d’Art option costumier/réalisateur avec mention en 1999. Il intégra successivement les équipes de l’atelier Mantille et Sombrero, puis Caraco; actuellement à l’atelier Bas et hauts, il y travaille en tant que chef d’atelier parallèlement à un travail en freelance. En 2005 il co-fonde la compagnie Tazcorp/ avec Guillaume Marie et participe depuis étroitement à chacune des productions. Il a construit son style et sa réputation avec une ligne de conduite alliant les exigences de la Haute Couture et des conceptions plus pluridisciplinaires, en respectant les contraintes du spectacle vivant. Dernièrement il a travaillé pour Gisèle Vienne (Eternelle idole), Olivier Dubois (Faune, L’Homme de l’Atlantique) Gael Depauw (Trilogie Familiale), Gaëlle Bourges (A Mon Seul Désir), etc.

Gaël Depauw


Gaël Depauw est née en 1973 et vit à Paris.
Après une licence de lettres modernes option études théâtrales obtenue à la Sorbonne Nouvelle, elle devient l’interprète (danse, théâtre) de Jan Fabre (L’histoire des larmes, The crying body), puis collabore avec Olivier Dubois sur le solo Pour tout l’or du monde, tout en poursuivant ses proches recherches artistiques.
Did Eve Need Make-Up? a été créé à Paris lors du festival Indisciplines en 2010. Depuis quelques années, elle collabore avec Guillaume Marie au sein de la compagnie TAZCORP, elle joue dans la performance We are accidents waiting to happen, présentée au palais de Tokyo (en collaboration avec Jonathan Capdevielle), dans le court-métrage Spinnen, dans Intrusion (forme courte conçue pour le musée d’art contemporain de Strasbourg) puis dans AsfixiA. Elle est également interprète dans Limen et Médée, d’Aurélien Richard. Gaël est également intervenante (danse, théâtre) pendant plusieurs années dans des écoles primaires ainsi qu’au conservatoire d’art dramatique du Mans. En tant que modèle et interprète elle travaille également avec des photographes, vidéastes et artistes plasticiens tels que Jean-Luc Verna, Eva Truffaut, Gilles Gerquet, Alberto Alix Garcia ou Arnaud Cohen.
En 2013, elle fait partie du processus d’accompagnement à la création (ARCADI / THEATRE DE VANVES / BUREAU CASSIOPEE).

Igor Dobricic


 Igor Dobricic lives in Berlin. He completed undergraduate course in Theatre, Film, Radio and Television Dramaturgy at the Academy of Dramatic Arts in Belgrade, (former) Yugoslavia and attended Master of Theatre course at DasArts in Amsterdam, Netherlands. Between 1995, and 1999 he worked as a dramaturge for the Belgrade International Theatre festival (BITEF). In 1999 he moved to Amsterdam. Between 2000 and 2008 he was a program officer for the arts at the European Cultural Foundation*. In this role he conceived and coordinated international support platform for the arts under the name ALMOST REAL. Between January 2009 and December 2010, he was occupying a position of a research fellow with the Amsterdam School of the Arts. During that period he articulated a long term research project “Table Talks” (TT) which is still under development. As a part of TT he engaged in a number of performative experiments hosted by the art institutions in Amsterdam, Berlin, Belgrade, Stockholm, Cairo and São Paulo. Between September 2010 and December 2011 he acted as the in-house dramaturge of Het Veem Theatre in Amsterdam. Starting from 2005 onward he is regularly engaging as a teacher of dramaturgy, concept development and philosophy to students of choreography at the Amsterdam School for New Dance (SNDO).

As a dramaturge he is working internationally, collaborating with a number of choreographers/makers such Nicole Beutler, Keren Levi, Christoph Leunberger, Guillaume Marie, Diego Gil, Christina Ciupke, Jeremy Xido, Jenny Beyer, Alma Sodeberg, Shannon Cooney, Meg Stuart a/o. He is also active In a role of an advisor and a mentor and he has on-going engagements with the Choreographic Centre Hamburg (K3); Amsterdam Master of Choreography (AMCh) and the Amsterdam Master of Theatre (DasArts). He is regularly invited to give workshops and lectures at Art/Dance Festivals and educational platforms (ImpulsTanz, Vienna; TanzFabrik, Berlin; Vaganova Academy of Russian Ballet, St. Petersburg; Critical Endeavor program, Bucharest; a/o). His long standing professional interests lie in the exploration of a parameters for a public event that situate itself in-between different fixed contexts (theatre and visual arts, professional and non profes- sional status, individual and group work, aesthetics and ethics).

Igor and Guillaume created together AsfixiA (2011), Edging (2013), Ruin Porn (2016) and ROGER (2019).

Kazuyuki Kishino AKA KK NULL


Kazuyuki KISHINO (aka K.K. NULL) was born in Tokyo, Japan 1961. Composer, guitarist, singer, mastermind of progressive hardcore band ZENI GEVA.

In 1981 Kazuyuki KISHINO studied at Butoh dancer, Min Tanaka’s “Mai-Juku” workshop and started his career by performing guitar improvisation at clubs in Tokyo. He continued by collaborating with MERZBOW for two years, and joining the band YBO2 (with Masashi Kitamura, the chief editer of “Fool’s Mate” magazine and Tatsuya Yoshida, the drummer of RUINS) and starting the improvised noise/rock trio ABSOLUT NULL PUNKT (with Seijiro Murayama, the original drummer of Keiji Haino’s FUSHITSUSHA).
In 1985 he established his own label NUX ORGANIZATION to produce & release his own works and subsequently the bands such as MELT-BANANA. He also produced the series of “Dead Tech” (compilation albums by Japanese bands) which heralded Japanese alternative music boom internationally from the early 90’s to date.
In the early 90’s he gained world-wide recognition as the mastermind, guitarist and singer of the progressive hardcore band ZENI GEVA, releasing five albums produced by STEVE ALBINI (two on Jello Biafra’s Alternative Tentacles label) and a few more on other labels such as NEUROSIS’s Neurot Recordings. Also ZENI GEVA recorded twice for JOHN PEEL SESSION on BBC, and immensely toured throughout Europe, USA, Australia, New Zealand and Japan, playing hundreds of concerts.
All the while, Kazuyuki KISHINO has been working on his solo career and collaborating with other musical innovators such as Z’EV, CHRIS WATSON, KEIJI HAINO, JON ROSE, MATMOS, FRED FRITH to name a few, and has been invited to perform at international festivals such as “Presences Électronique” in Paris (France), “Sonar” in Barcelona (Spain), “All Tomorrow’s Parties UK”, “Radar” in Mexico City (Mexico), “International Sound Art Festival” in Mexico City (Mexico), “Sergey Kuryokhin International Festival (SKIF-6 & 8)” in St.Petersburg & Moscow (Russia), “Elevate” in Graz (Austria), “X-peripheria” in Budapest (Hungary), “Liquid Architecture” in Sydney, Melbourne, Brisbane (Australia), “Totally Huge New Music Festival” in Perth (Australia), “Avanto Helsinki Media Art Festival” in Helsinki (Finland), “Roadburn” in Tilburg (Holland), “International Festival Musique Actuelle” in Victoriaville (Canada), “Electron” in Geneve (Switzerland), and many more.
After playing the guitar as his main instrument for nearly thirty years, Kazuyuki KISHINO has gradually moved towards a more electronic approach. Since the late 90’s he has been concentrating his efforts on his solo & collaborative recordings, exploring the outer territories of electronica, creating intense clashing wave of noise, structured electro-acoustic ambience, broken down rhythmics, scattered pitch sculptures, droning isolationist material which could be described “cosmic noise maximal/minimalism”.
Selected commissioned works : – “Cryptozoon” surround composition for Festival Presences Électronique 2013 by Ina GRM (Paris) – “Edging” music for dance theatre by Tazcorp (Paris) – “Visiting Tarab” live performance piece by Sharjah Art Foundation (U.A.E) – “Aria, acqua, fuoco, terra” sound for exhibition “Andar Par Stelle” by Cesare Berlingeri (Padova, Italy)
– “A Page Of Madness” soundtrack for a Japanese silent film “Krutta Ichipeiji” (directed by Teinosuke Kinugasa 1926) by Buda Arts Centre (Belgium)

Roger Sala Reyner

Dancer and choreographer

Roger Sala Reyner (1981, Spain) lives in Berlin. He studied choreography at the SNDO (School for New Dance Development) in Amsterdam. Before moving to Holland, he finished a BA in physical theatre at the Institut del Teatre de Terrassa, in Barcelona. He has engaged as performer in works by Meg Stuart (Violet, Atelier), Jefta Van Dinher (As We Empty Out) and collaborated as a dancer with Steve Paxton, Jeanine Durning, Jeremy Wade or Martin Nachbar. His own work, first created in collaboration with french choreographer Simon Tanguy, has been shown in Holland, Belgium and Spain (Gerro, Minos and Him, I Wish I Could See Life In Technicolor). He is actually involved in the collective project John the Houseband, a nomadic performative amateur music band. Roger likes to explore different states of consciousnesss connected with shamanism, extases and alchimie. In 2015 he started a new collaboration with Guillaume Marie and Igor Dobricic for Ruin Porn (2016) and the solo piece ROGER (2019)

Greg Smith


Greg Smith est né et a grandi à Montreal au Canada et vit actuellement à Rotterdam en Hollande. Il commence à travailler en Hollande comme accompagnateur dans des classes de danse contemporaine et très vite compose de la musique pour des pièces contemporaines. Il collabora ainsi avec de nombreux chorégraphes : Jennifer Hanna, Piet Rogie, Scapino Ballet Rotterdam, Kristina de Chatel, Bern Ballet, Club Guy and Ronie, Munchen Staedt Opera et Jens Van Daele. En dehors de ses compositions pour la danse, Greg est le batteur et producteur de Sandra St Victor’s Sinner Child, Colonel Red’s Sweet Liberation, et est percussioniste au sein du projet de Florian Meier Hungry Gods.
Depuis 2010, il collabore avec Guillaume Marie sur les projets Nancy, Intrusion, AsfixiA et Spektrum.

Suet Wan Tsang


Suet-Wan Tsang was born in 1980 and lives between Rotterdam and Berlin. She studied classical and contemporary dance at the dance department of the Art Academy in Arnhem, the Netherlands where she graduated.

She then collaborates with choreographers Itzik Galili, Piet Rogie, Annabelle Lopez Ochoa, Jens Van Daele, Suzy Blok, Muhannad Rasheed, Ton Lutgerink and filmmakers Noud Heerkens and Frank Scheffer. In 2013, she meets Margret Sara Gudjonsdottir who works the somatic body using the techniques of fasciatherapy and dance in Blind Spotting, created in Berlin in 2014, followed by Hypersonic States in 2018 and Stimuli Magnetic Pervasive in 2019.

Since 2010, Suet-Wan Tsang has been working closely with Guillaume Marie & Tazcorp first on the Nancy (2010) solo piece and then on productions such as AsfixiA (2011), Intrusion (2011), Edging (2013) and Ruin Porn (2016). In 2017, she began training on the Ilan Lev method and graduated as a therapist in 2019.

Marcel Weber

visual artist | Ligths – video

 is a visual artist who works with imagery, light and space. He has been directing and producing audiovisual performances, stage designs, video works and installations since 2001. Weber’s performances are concerned with memory and perception, identity formation and dissolution – particularly in the context of possible futures and their underlying mythologies.

Marcel Weber is a resident visual artist for several event series focused on the exploration of experimental music and art in Berlin and internationally. He is is part of Berlin’s Atonal festival team as director for lights and visuals and a long time collaborator of Unsound festival. His performances and installations have been commissioned and featured by many highly regarded festivals, such as CTM and Transmediale (Berlin), Mutek (Montreal) and Unsound (Krakow, Adelaide, Toronto) and have been shown at renown venues like the British Film Institute, Barbican, Centre Pompidou and CERN as well as numerous institutions and events across Europe, USA and Australia.

His work is marked by a well-defined and distinctive aesthetic that both resonates with and forms a relationship to sound. Applying to the visual the musical language, with its ability to shape emotional worlds, an ethereal quality emerges, brought to life by his passion for experimental narratives.

Recent projects of note include collaborations with film composers such as Kyle Dixon & Michael Stein and Jed Kurzel, sound artists like Tim Hecker, Ben Frost and Liz Harris (Grouper) and musicians like Kara-Lis Coverdale and Roly Porter. In the past Weber had also contributed video design to houses of high culture, having worked at the Opera national de Paris, the Academy of Arts Berlin, at Sophiensaele Berlin and the brut theatre in Vienna on a variety of theatre plays and opera productions.