Enseigner va bien au-delà de transmettre des savoirs ou des techniques : c’est créer un espace où réflexion, expérimentation et dialogue se rencontrent pour permettre à chaque étudiant·e de trouver sa propre voie. Mon approche s’appuie sur une création raisonnée, où les matériaux, les techniques et les technologies nouvelles s’articulent avec une attention constante aux impacts sociaux, écologiques et humains. À l’ENSAD, comme dans mes workshops ou collaborations, je transmets une manière de penser et de pratiquer l’art axée sur la durabilité, l’innovation et l’exploration poétique.

La création repose sur des questions essentielles : que disent les matériaux ? Comment les détourner, les réemployer ou les transformer à l’aide des nouvelles technologies ? Que révèle une imperfection ou un imprévu ? En encourageant l’écoute et l’expérimentation, j’invite les étudiant·es à embrasser la sérendipité comme moteur artistique. Loin de s’opposer à la rigueur, cette approche enrichit chaque projet, transformant l’idée initiale en une recherche vivante où matières, espaces et hasards dialoguent.

Cette vision s’inspire des principes de la Feedback Method, découverts lors de ma formation à DAS Theatre (Amsterdam). Ce cadre structuré pour les retours critiques repose sur l’écoute active, la clarté des intentions et des échanges constructifs. Sans l’appliquer directement, ses fondements nourrissent ma pédagogie en offrant un espace bienveillant et exigeant, où les propositions évoluent tout en respectant leur singularité.

Je n’impose pas de posture idéologique, mais je crois que toute création porte une dimension politique, explicite ou implicite. Avec mes étudiant·es, nous explorons comment les œuvres transforment les espaces, interrogent les matières ou dialoguent avec le public. Ces échanges ouvrent des perspectives, posent des questions et accompagnent la construction d’engagements artistiques.

Les matériaux, les techniques et les technologies nouvelles occupent une place centrale dans ma pratique pédagogique. Chaque projet est un laboratoire d’idées où l’on teste, ajuste, détourne et parfois échoue. Cette démarche valorise autant le processus que le résultat, transformant les contraintes en opportunités créatives.

Enfin, la poésie traverse mon enseignement. Au-delà de l’objet ou du dispositif, j’invite à réfléchir à la résonance des œuvres : comment un matériau raconte une histoire ? Comment une technologie redéfinit-elle un langage ? Ces réflexions nourrissent une pratique où matière, technique et concept s’entrelacent pour dépasser la seule maîtrise technique.

Transmettre, c’est donner des outils tout en laissant place à l’inventivité et à l’interprétation personnelle. Mon objectif est d’accompagner l’affirmation des singularités, tout en développant une conscience accrue des enjeux contemporains. Dans cette tension entre personnel et collectif, l’enseignement devient une manière d’interagir avec le monde, en portant des œuvres à la fois profondes et engagées.

Teaching goes far beyond transmitting knowledge or techniques: it creates a space where reflection, experimentation, and dialogue come together, enabling each student to find their own path. My approach is grounded in a reasoned approach to creation, where materials, techniques, and new technologies intersect with a constant focus on social, ecological, and human impacts. At ENSAD, in the workshops I lead, or through external collaborations, I aim to share a way of thinking and practicing art that emphasizes sustainability, innovation, and poetic exploration.

Creation is driven by fundamental questions: what do materials convey? How can they be repurposed, transformed, or reimagined through new technologies? What does an imperfection or an unforeseen event reveal? By encouraging attentive listening and free experimentation, I invite students to embrace serendipity as a driving force in their artistic process. Far from opposing rigor, this approach enriches every project, turning the initial idea into a dynamic inquiry where materials, spaces, and chance interact.

This perspective draws inspiration from the principles of the Feedback Method, which I discovered during my training at DAS Theatre (Amsterdam). This structured framework for critical feedback is based on active listening, the artist’s clarity of intention, and constructive, contextualized exchanges. While I don’t apply it directly in my courses, its principles enrich my pedagogy by fostering a supportive yet demanding environment where students’ ideas can evolve while honoring their uniqueness.

I do not impose political or ideological stances, but I firmly believe that all creation carries a political dimension, whether explicit or implicit. Together with my students, we explore how works transform spaces, challenge materials, or engage with audiences. These discussions do not aim to steer their creations but to open perspectives, raise questions, and support them in building their own artistic commitments.

Materials, techniques, and new technologies play a central role in my pedagogical practice. Each project becomes a laboratory of ideas, where testing, adjusting, repurposing, and even failing are integral to the process. This dynamic approach values both the journey and the outcome, transforming constraints into creative opportunities.

Lastly, poetry permeates my teaching. Beyond the object or the device, I encourage students to consider the resonance of their work: how does a material tell a story? How does a technology redefine language? These reflections foster a practice where material, technique, and concept intertwine, transcending mere technical mastery.

To me, teaching is about providing tools and guidance while leaving room for inventiveness and personal interpretation. My goal is not to shape creators according to a model but to support the affirmation of their individuality while nurturing an awareness of the issues that define our times. In this tension between the personal and the collective, teaching becomes a way of engaging with the world, producing works that resonate deeply and meaningfully.

Since 2018, I have been a permanent faculty member in the Scenography Department at ENSAD, where I have developed a teaching practice rooted in reasoned creation, integrating sustainability, interdisciplinarity, and critical reflection. My courses and workshops foster a dynamic dialogue between art, space, and society, offering students tools to engage meaningfully with the challenges of contemporary scenographic practice.

Core Courses and Collaborative Projects

Year 2 (L2): The Theater Stage

This foundational course introduces students to the methodological processes of scenography, guiding them from the analysis of text to its transformation into spatial and performative concepts. Through projects that incorporate dramaturgy, audience relationships, and scenographic elements such as lighting, video, and costume design, students learn to approach the stage as a complex ecosystem of artistic and technical interactions.

Year 3 (L3): The Augmented Theater Stage

Building on the foundation laid in Year 2, this course pushes students to explore expanded scenographic practices, integrating digital tools such as video mapping and augmented reality. Projects challenge traditional conventions, encouraging students to create immersive and participatory environments that engage contemporary audiences in new ways.

Master’s Level (M1 and M2): Advanced Projects and Research Creation

For M1 students, I provide guidance on creative projects often developed in collaboration with institutions such as the CNSAD, ESAD, Maison des Arts de Malakoff, Eurofabrique, and MAC VAL. These partnerships offer students exposure to professional environments and interdisciplinary practices.

For M2 students, I oversee diploma projects that synthesize conceptual inquiry and scenographic innovation. These projects often tackle complex themes, integrating diverse media and fostering critical engagement with the social and ecological dimensions of scenography.

Workshops and Special Initiatives

Writing Workshop on Identity Fiction

Over two years, I co-led a workshop with sociologist Marie Peretti NDiaye, examining the theme of identity through fiction. Students collaborated with guest scenographers, directors, and contemporary writers such as Olivia Rosenthal and Pauline Peyrade to explore how narrative and performance intersect with personal and collective identities. This initiative emphasized the use of dramaturgy and scenographic design to address sociological and cultural questions.

Lighting for Scale Models

In this hands-on workshop, students experimented with lighting techniques applied to scale models, exploring how light transforms spatial perception and creates narrative within a scenographic context. This practical experience provided a foundation for understanding lighting as both a technical and poetic tool.

Invitations to Contemporary Artists and Writers

Throughout my teaching, I have organized guest sessions with contemporary voices, including authors and playwrights such as Olivia Rosenthal and Pauline Peyrade. These collaborations enriched students’ understanding of text and space, allowing them to engage directly with creators who challenge traditional approaches to storytelling and scenographic representation.

Studio: “Place du Vivant”

This transdisciplinary module investigates the relationship between scenography and the living world, focusing on ecological and social dynamics. Students develop site-responsive works based on field research and sustainable materials, exploring how art can reflect and influence our connection to the environment.

Field Study Trip to Narva

A field trip to Narva, Estonia, provided students with an immersive opportunity to explore scenography through the lens of geography, history, and memory. By conducting site-specific research in this unique border city, students engaged with themes of identity, heritage, and spatial transformation, creating works that responded directly to the context of Narva.

Institutional Roles and Broader Contributions

In addition to teaching, I am actively involved in ENSAD’s governance as a member of the Board of Administration and the Board of Studies and Research, where I contribute to shaping the school’s academic vision and fostering innovative approaches to artistic education.

For the past three years, I have also worked with ENAMOMA students, mentoring them in the design and installation of their final exhibitions, bridging scenographic expertise with exhibition design and public engagement.

Philosophy of Teaching and Transmission

My teaching philosophy emphasizes the interplay between experimentation, reflection, and sustainability. By integrating tools such as reuse, serendipity, and conceptual rigor, I encourage students to approach scenography as a site of artistic inquiry and social engagement. While drawing from the principles of the Feedback Method (DAS Art), I adapt its focus on dialogue and mutual respect to foster a collaborative and supportive learning environment.

Through these diverse courses, workshops, and institutional contributions, my work at ENSAD continues to cultivate a generation of scenographers who are equipped to respond to contemporary challenges with creativity, responsibility, and vision.

In 2024, we conducted a series of workshops titled “Cosmology of the Terrestrial” as part of the Luminous Festival in Beijing and at the West Bund Museum in Shanghai. These workshops invited participants to engage deeply with the concept of the planetarium as a tool for understanding and reimagining human relationships with the world. This concept was inspired by the work of Bruno Latour, whose reflections on planetary perspectives challenge us to rethink how we position ourselves within a fragile, interconnected ecosystem.

The workshops began with the screening of an animated video I produced, accompanied by narration from Latour himself. This video introduced seven conceptual “planets,” each representing a distinct way of relating to the world—ranging from extraction and domination to care and reciprocity. These planets served as metaphors for the diverse ways in which societies engage with their environments, framing the creative work that followed.

A Journey into Personal and Collective Cosmologies

Participants were provided with paper, ink, and brushes, deliberately chosen to strip the process down to fundamental, tactile tools. This minimalist approach emphasized the raw act of creation and encouraged introspection. Each participant began by drawing their personal vision of the world, reflecting on how they perceived their place within it. These individual creations became intimate explorations of personal cosmologies, revealing how each person projects themselves into the planetary narrative.

The second phase of the workshop shifted from the individual to the collective. Participants formed groups to compare, contrast, and integrate their drawings, engaging in dialogues that bridged their perspectives. This collaborative process culminated in the creation of new planetariums, where the group’s collective imagination redefined planetary relationships. These planetariums often juxtaposed contrasting visions—harmonizing ecological care with technological ambition, or exploring tensions between local identities and global interconnectedness.

Reflection and Dialogue

Throughout the workshops, discussions were woven into the creative process, encouraging participants to articulate the philosophical and political dimensions of their representations. Questions such as “What does it mean to inhabit a planet?” and “How does our vision of the world influence our actions within it?” guided the exchanges. These reflections often led to profound realizations about the relational nature of existence, emphasizing the interconnectedness of humanity, the environment, and the cosmos.

Outcomes and Insights

The workshops were as much about the process as the outcomes. While the final planetariums were visually striking, the true value lay in the conversations and perspectives they generated. Participants reported feeling a renewed sense of responsibility toward the living world, inspired by the act of envisioning alternative cosmologies. The simplicity of the materials and the focus on collective creation emphasized that powerful ideas do not require elaborate tools but rather a willingness to engage with complexity and nuance.

These workshops also highlighted the role of artistic practice as a form of inquiry. The drawings and discussions were not static representations but active explorations, challenging participants to reconsider their assumptions about the world and their place within it. The collaborative process became a microcosm of what Latour’s planetarium seeks to address: the need for shared imaginaries that can guide us toward more sustainable and empathetic ways of living.

Impact and Legacy

“Cosmology of the Terrestrial” reinforced my belief in the power of art and pedagogy to inspire change. By grounding the workshops in accessible tools and universal questions, they became platforms for cross-cultural dialogue, transcending boundaries of language and background. This experience continues to inform my teaching and artistic practice, reminding me that the most profound insights often emerge from the simplest acts of creation.

This project also underscored the importance of transdisciplinary collaboration—drawing from Latour’s philosophical frameworks, artistic methods, and participant input to construct a space where art, science, and social inquiry could converge. The result was not only a series of imaginative artworks but a testament to the transformative potential of collective vision.

In March 2023, I led a four-day workshop at the École Européenne Supérieure de l’Image (EESI) in Poitiers, designed to explore the intersections of video, performance, text, and body within contemporary artistic practice. This intensive experience encouraged participants to investigate how multimedia tools and performative elements could converge to create immersive and thought-provoking works of art.

Concept and Approach

The workshop was inspired by Kae Tempest’s poetic masterpiece, Let Them Eat Chaos, a work that vividly portrays the interconnected lives of individuals in a fractured and chaotic world. This text provided a powerful lens through which participants could examine themes of interconnection, fragmentation, and collective experience. The poetic, rhythmic qualities of Tempest’s work also resonated with the performative nature of the workshop, offering a textual backbone for the explorations.

The focus was not only on how text can shape performance but also on how it interacts with visual and aural elements, such as video and sound, to build layered narratives. Participants were encouraged to see technology not as a tool to illustrate concepts but as a creative force that reshapes how stories are told and experienced.

Structure and Process

The workshop unfolded in distinct phases:

1. Exploration and Conceptualization:

Participants began by responding to Tempest’s text through individual reflections and group discussions. These sessions allowed them to identify the themes and moments that resonated most deeply with their own experiences and creative aspirations.

2. Experimentation with Tools:

Each participant explored the technical tools available, such as video recording and editing equipment, sound design software, and spatial configurations for performance. This phase emphasized hands-on experimentation, encouraging participants to test the limits of their chosen mediums while integrating elements like rhythm, movement, and visual composition.

3. Creation of Performative Installations:

Drawing from their reflections and experiments, participants developed site-specific installations that blended performance with video and sound. The body became a central element—both as a vehicle for expression and as a dynamic element within the space. Texts inspired by Tempest’s work were deconstructed, reimagined, and layered with digital imagery to create works that were as much about presence as they were about storytelling.

4. Collaboration and Feedback:

The workshop placed a strong emphasis on collaborative critique, where participants shared their works-in-progress and engaged in structured feedback sessions. This iterative process helped refine their projects, encouraging them to deepen their exploration of audience interaction and spatial dynamics.

Public Presentation and Discussion

The workshop culminated in a public presentation of the developed works, transforming the space into a multi-sensory environment where audience members could move freely between the installations. Each piece invited viewers to engage with its layered elements, whether through immersive projections, fragmented narratives, or the physicality of live performance.

Following the presentation, a discussion with the audience and faculty members provided a space to reflect on the creative process, the challenges faced, and the thematic concerns explored. These dialogues often revealed new insights for both the artists and the viewers, reinforcing the reciprocal nature of performance and participation.

Key Outcomes

This workshop was a powerful demonstration of how transdisciplinary approaches can amplify artistic expression. By integrating tools from various practices, participants discovered new ways to construct meaning and connect with their audiences. The process also emphasized the immediacy of engagement, showing how performance and technology can converge to create works that are simultaneously intimate and expansive.

For many participants, the experience was transformative, offering them a deeper understanding of how mediums inform and shape one another. It also underscored the importance of process over product, as the act of exploration itself became a form of creative discovery.

Reflections on Pedagogy

This workshop reaffirmed my belief in the importance of creating spaces for experimentation that allow students to take risks and engage critically with their mediums. By framing technology as a partner in creation rather than a tool for execution, I encouraged participants to rethink their relationships with text, space, and performance. The workshop highlighted the potential of transdisciplinary practices to not only expand artistic possibilities but also to foster meaningful connections between creators and their audiences.

For two years, I held a weekly teaching load of 10 hours in the Department of Visual Arts and Cinema at Université Jules Verne in Amiens. My teaching focused on the interaction between multimedia, cinema, and spatiality, addressing students from various disciplines and levels of study.

Courses for First-Year Visual Arts Students (Licence 1)

With first-year students, I developed projects centered on multimedia installations, enabling them to explore the intersections between visual arts, video, and new technologies. These courses aimed to introduce fundamental principles of spatial design and their application in hybrid works blending physical and digital mediums.

The pedagogical approach combined practical workshops with theoretical reflection, encouraging students to design and execute their own installations. The goal was not only to teach technical skills but also to foster a critical understanding of how space, media, and technology interact to shape artistic expression.

Courses for Third-Year Cinema Students (Licence 3)

For third-year cinema students, I implemented a cross-disciplinary approach combining cinema and spatiality. The courses were structured into three key phases:

• Writing: Students were guided in developing scripts that explored themes related to space and perception, encouraging them to think critically about how environments shape narrative.

• Shooting: Teams collaborated to produce their films, integrating technical and aesthetic experimentation to push the boundaries of cinematic storytelling.

• Editing and Finalization: Emphasis was placed on the role of editing in constructing narrative and developing a critical perspective on the production process.

The curriculum also introduced concepts of immersive and spatial cinema, examining how audiovisual and scenographic devices could transform the audience’s interaction with both story and space.

Pedagogical Approach and Methodology

My teaching methodology revolved around a constant interplay between theory and practice. Through critical discussions, case studies, and hands-on workshops, I aimed to guide students in reflecting on the contemporary challenges of cinema and digital arts while equipping them with the technical skills necessary to bring their ideas to life.

Final projects were regularly presented through collective exhibitions, fostering dialogue about the creative process and the outcomes achieved. These moments of exchange encouraged students to critically evaluate their work while providing opportunities to share ideas with their peers.

Reflections and Impact

My time at Université Jules Verne was a period of rich experimentation, during which I shared my passion for hybrid forms that blend video, multimedia, and visual arts. This experience also strengthened my transdisciplinary approach, integrating it into an academic and pedagogical framework.

The combination of cinema and spatiality, along with the exploration of immersive and multimedia practices, provided students with a unique platform to innovate and challenge conventional artistic boundaries. This period remains a cornerstone in my teaching journey, reinforcing my commitment to fostering creative autonomy and interdisciplinary dialogue in education.

The CORP(US) project was a two-year collaborative endeavor that brought together ENSADLab, Université Paris X, and the École d’Art Dramatique de Paris. It explored the intersections between performance, video art, and scenography, culminating in an ambitious series of public multimedia performances and video exhibitions. The initiative was as much about artistic creation as it was about forging new models of collaborative pedagogy across institutions.

Concept and Objectives

At the heart of CORP(US) was the question of how the body could serve as a dynamic medium of expression within a performative and technological context. Drawing from the urban and architectural fabric of Paris, the project emphasized site-responsive creations, where performances were tailored to and transformed the spaces they occupied. Thematically, CORP(US) investigated the fragmentation of identity, memory, and collective experience, weaving these ideas into immersive installations and live events.

The collaboration sought to break traditional institutional silos, uniting students and faculty from diverse artistic and academic disciplines. ENSADLab brought expertise in scenography and video, Université Paris X contributed theoretical and dramaturgical frameworks, and the École d’Art Dramatique focused on the physicality of performance. Together, these elements created a rich environment for experimentation and innovation.

Development and Key Phases

The project unfolded in multiple phases:

1. Workshops and Conceptual Exploration

In the early stages, students from the three institutions participated in workshops that combined theoretical discussions with practical experimentation. These workshops were held in varied locations across Paris, from rehearsal studios to urban spaces, allowing students to engage with different spatial and narrative possibilities. Concepts such as body as archive, memory as movement, and technology as an extension of presence were central to these explorations.

2. Creation of Filmic Performances

Each participant or group developed filmic performances that blended live action with video projections and scenographic elements. These pieces examined the dialogue between the physical and the virtual, creating layered narratives where the body interacted dynamically with digital environments.

3. Public Exhibitions and Performances

The final phase saw the presentation of works across multiple venues in Paris, including theaters, galleries, and public spaces. These multimedia installations invited audiences to navigate immersive environments where video, sound, and live performance intertwined. The performances were designed to be both site-specific and ephemeral, responding to the unique character of each location.

Highlights and Key Venues

One of the project’s most memorable elements was its adaptability to diverse settings. For instance:

• At Université Paris X, performances engaged with academic spaces, transforming lecture halls into performative arenas where intellectual discourse met visceral expression.

• At ENSADLab, the works highlighted experimental scenographic techniques, using the laboratory’s resources to push the boundaries of projection mapping and spatial design.

• At the École d’Art Dramatique, the focus was on the embodied experience of the performers, with intimate stagings that foregrounded the relationship between the body and the audience.

Impact and Legacy

CORP(US) exemplified the power of transdisciplinary collaboration, demonstrating how artistic research can transcend institutional boundaries to create innovative and meaningful works. The project not only resulted in compelling performances but also left a lasting impact on the participants, who gained experience navigating the intersections of practice, theory, and technology.

For me, CORP(US) was a pivotal experience in my teaching and creative practice. It reinforced the importance of crafting environments where students can experiment freely, confront the challenges of collaboration, and engage critically with their materials and ideas. The project also deepened my understanding of how scenography, video, and performance can converge to transform both space and narrative, a perspective that continues to inform my work today.

This immersive workshop at the École Nationale Supérieure d’Art Dramatique (ENSAD) in Montpellier aimed to bridge the worlds of cinema and scenography, providing participants with a comprehensive, hands-on experience in audiovisual creation. Over several weeks, students worked collaboratively to produce a pilot episode for a fictional series, engaging with every phase of production, from concept development to post-production.

Concept and Objectives

The workshop was designed to explore the relationship between cinematic language and theatrical scenography. By guiding participants through a structured yet creative process, the workshop encouraged them to think critically about how narrative, aesthetics, and technical tools can shape an audiovisual work. It also provided a platform for participants to engage with contemporary themes and experiment with storytelling techniques that blurred the boundaries between live performance and cinema.

Process and Development

1. Scriptwriting and Conceptualization

The workshop began with an intensive scriptwriting phase, where students collaborated to develop a cohesive storyline. This process involved identifying contemporary themes relevant to the participants’ experiences and crafting a narrative that incorporated layered characters and dramatic tension. Emphasis was placed on how scenography—the design of space, light, and atmosphere—could inform and enhance the storytelling.

2. Pre-production and Planning

Once the script was finalized, students moved into pre-production, where they planned the logistics of the shoot. This phase included creating storyboards, designing sets, and organizing lighting and camera setups. Participants were encouraged to consider the spatial dynamics of the frame, exploring how movement and composition could evoke a theatrical sensibility within the cinematic medium.

3. Filming

The shooting phase was a collaborative effort, with students rotating through roles such as director, cinematographer, and actor. This hands-on experience allowed them to familiarize themselves with professional-grade equipment, including cameras, sound recording devices, and lighting rigs. The emphasis during this phase was on creating a visually cohesive world, where scenographic elements like texture, color, and spatial depth played a central role in storytelling.

4. Post-production

In the final phase, students engaged in editing and post-production, working together to assemble and refine their footage. This stage involved selecting takes, syncing audio, and experimenting with visual effects, music, and sound design. The process provided participants with a comprehensive understanding of how cinematic pacing and atmosphere are crafted in the editing room.

Key Outcomes

The pilot episode produced during the workshop served as a microcosm of collaborative creation, demonstrating the potential of integrating cinematic and theatrical practices. Beyond the tangible result of the episode itself, the workshop provided participants with a holistic understanding of audiovisual production. They gained insight into the technical and artistic challenges of filmmaking, while also exploring how scenography could inform and elevate the cinematic form.

Additionally, the workshop emphasized the transdisciplinary nature of contemporary creation, encouraging participants to move fluidly between roles and disciplines. This experience helped them develop skills that are increasingly relevant in the hybridized fields of performance and media art.

Impact and Reflection

The “Cinéma” workshop highlighted the transformative power of storytelling when approached through the lens of collaborative experimentation. It also underscored the importance of providing students with practical, hands-on experiences that bridge the gap between conceptualization and realization. For me, this project reaffirmed the value of engaging students in processes that challenge them to think across disciplines, fostering an understanding of how scenography, narrative, and technology can converge to create powerful and meaningful works.

From 2013 to 2015, I led a unique pedagogical experience at the École Supérieure d’Art d’Avignon, in collaboration with the Les Hivernales Festival, exploring the interplay between video and dance. This program was structured around a combination of regular classes and intensive workshops, blending consistent creative practice with periods of focused experimentation.

Regular Classes: Building a Foundation

The year-round classes provided students with the technical and conceptual tools necessary to engage with video as both an archival and creative medium. Through these sessions, participants explored the fundamentals of video capture, editing, and projection, always in relation to the ephemeral nature of dance. The focus was on developing a language that could respond to the fleeting essence of performance, while opening avenues for reinterpretation and transformation.

Students regularly attended performances at Les Hivernales, using these as case studies to fuel their projects. By working continuously over the year, they gained a deeper understanding of how to observe, analyze, and respond to movement through the lens of a camera. This sustained engagement ensured that their work was grounded in thoughtful observation and iterative practice.

Workshops: Focused Exploration and Experimentation

These workshops, held in more intensive periods, allowed students to dive deeply into specific themes related to the image, the body, and the ephemeral. Collaborations with dancers and choreographers from Les Hivernales brought a performative dimension to the work, transforming the studio into a space of cross-disciplinary exchange.

During the workshops, students worked with material captured from live performances at the festival. Some focused on archiving and organizing traces, creating structured narratives from raw footage, photographs, and other collected materials. Others used the video recordings as creative raw material, manipulating the footage into experimental films that reinterpreted the original performances. These projects highlighted the transformative potential of video, turning it into a tool not only for preservation but for reinvention.

The workshops culminated in a special evening showcase, where students presented their works alongside live performances from the school’s performance department. These evenings became moments of celebration and critique, fostering dialogue between students, artists, and audiences about the intersections of dance, video, and time.

A Dual Rhythm: Continuous and Intensive Learning

The combination of regular classes and workshops created a dynamic learning environment. The continuity of the classes ensured a solid foundation of skills and conceptual understanding, while the workshops offered moments of intense experimentation. This dual rhythm mirrored the creative process itself: steady progress punctuated by bursts of inspiration and discovery.

This structure allowed students to build and refine their ideas over time while embracing the spontaneity and immediacy of workshop settings. It also provided a balance between the methodical approach required for conservation and the freedom of creative exploration necessary for reinterpretation.

Reflections on the Program

This hybrid format proved essential in addressing the core questions of the program: What does it mean to preserve an ephemeral art form? How can video, as a medium, not only document but amplify and transform dance? The interplay between regular classes and workshops gave students the time and space to explore these questions from multiple perspectives, enriching both their technical proficiency and their conceptual depth.

For me, this experience underscored the value of flexible pedagogical structures that allow for both rigor and experimentation. It also reaffirmed my belief in the importance of collaborative creation, where disciplines meet to challenge conventions and produce work that exists in the fertile space between permanence and impermanence.

The École Nomade, co-led with Cyril Teste, was born out of a desire to bridge disciplines and bring together students from varied artistic and academic backgrounds. Over six years, this initiative became a space of intense collaboration and experimentation, where the boundaries between theater, visual arts, and digital media dissolved in favor of collective creation.

At its heart, the École Nomade was a meeting ground for diverse perspectives. Each workshop invited students from conservatoires, art schools, and other institutions to confront their practices with those of their peers. Whether they came with a focus on performance, scenography, video, or fine arts, participants were challenged to rethink their tools and methods in light of this collective dialogue. This transdisciplinarity was not a goal in itself but a means to question conventions and invent new forms of artistic expression.

The workshops were inherently site-responsive. In each location—whether a theater, a festival, or an art school—the context shaped the process. The spaces we occupied became active elements of creation, inspiring performances, installations, and hybrid forms that engaged with their environment. In Poitiers, for instance, the relationship between projection and live performance took center stage, while in Cluj Napoca, the performance hall informed a site-specific approach that wove the existant architecture into the narrative.

One of the most transformative aspects of the École Nomade was the exchange of ideas between disciplines. A visual artist might reconsider their practice through the lens of dramaturgy, while an actor could explore how digital tools reshape presence and gesture. These encounters were not about erasing differences but about finding shared languages that could amplify the creative process. The workshops became laboratories for rethinking artistic roles, where scenographers became storytellers, performers engaged in visual composition, and all participants navigated the intersections of their crafts.

Each workshop culminated in a shared moment of presentation, not as a traditional showcase but as an opportunity for dialogue with an audience. These public moments were reflective and dynamic, inviting feedback that often became part of the creative process itself. The works presented were unfinished, porous, and alive with the tensions and discoveries of their making.

The École Nomade was also a space for rethinking pedagogy. It shifted the focus from the product to the process, emphasizing curiosity, risk-taking, and the importance of listening. The experience profoundly shaped my approach to teaching, solidifying my belief in the value of environments where experimentation is central, where the act of creation is both a personal and a shared journey.

This initiative laid the foundation for much of my later work. It deepened my commitment to fostering collaboration across boundaries, encouraging students to see their practices as part of a larger conversation—one that connects disciplines, people, and the spaces we inhabit.