Julien Desprez
After a year of self-taught guitar training in parallel with his cabinetmaking studies, Julien Desprez trained for four years at the E.N.M.D. in Yerres, Essonne, followed by two years at the Montreuil Conservatory.
If jazz and rock were his first musical loves, he was very quickly attracted to freer musical forms that ignored aesthetic barriers and left room for improvisation. His conception and approach to the instrument, music and space were transformed. As time went by, he saw the guitar more as a battery, an organ, an instrument that could be modified and deployed as he wished.
His meeting with Gregory Edelein around his project Déconcerter was decisive, giving him the opportunity to reflect on and practice the musician's body. All this work has allowed him to put the body back into play in each of his performances. Evolving between sound art, performance and contemporary improvised music, Julien Desprez's work today is based on various existing questions within a scenic space: the body, space and light, while leaving the sound a central place. Halfway between choreography - without being danced -, scenography and concert, the performances created are the fruit of this reflection: the musicians leave their simple position of sound creators and are pushed to assume and fully use their body.
Thus, he gives birth to unexpected artistic forms, favoring the crossing of languages and disciplines. His last two creations are part of this line: between graphic arts, choreography and sound, Coco questions the limits between sound and choreographic practices while playing with identities. The performance Acapulco Redux was formed around a concept: to develop a musical form capable of accommodating and bringing into existence all types of sounds from any field or musical aesthetic.
Julien Desprez is also a co-founding member of the Collectif Coax, a cooperative of musicians based in Paris and created in 2008, which was recently labeled "Compagnies Nationales" by the Ministry of Culture and Communication.

Nicolas Canot
Nicolas Canot is a sound and digital artist, composer, improviser, modularist, developer and teacher based in Reims. He devotes his work to musical, sound and electronic creation, electroacoustic or generative, as well as to digital art installations and improvised sound forms.
He performs alone or in collaboration with visual artists, improvising instrumentalists or choreographers. His performances and installations have been presented many times in France and in Europe.
Nicolas Canot is an artist associated with the Sonopopée collective (digital arts and electronic instruments, Reims) and Lune Music (electronic music and improvisation). He is a founding member of the electronic improvisation collective feedback.administration.theory.
He recently participated as a digital designer in the performances and installations FIXIN and FIXIN Extended (Sylvain Darrifourcq), PianoMachine (Claudine Simon), MiMo (Rémi Fox) and Paysage de Propagations (Christian Sebille).
He is also the composer and digital advisor of the creation Big Bang creation of the Cognitive Overload company (creation 2023, Le Manège - Scène nationale de Reims) as well as the carrier of the Lady Keijuro project (live electronic improvisation), in residence 2022 at the Cartonnerie de Reims.

Ana Rita Teodoro
Ana Rita Teodoro holds a Master's degree in dance from the CNDC in Angers and a degree in anatomy from the University of Paris 8. In 2002, she attended the research and choreographic creation course at Forum Dança (Lisbon). Since 2000, Ana Rita Teodoro actively participates in the activities of Centro Em Movimento in Lisbon where she develops the study of the body through experiential anatomy. Tatsumi Hijikata's Butoh is indeed one of her most important areas of artistic investment.
She receives in 2015 a grant from the Calouste Gulbenkian Foundation (2015) as well as the support of the Centre National de la Danse de Pantin where she is an associate artist between 2017 and 2019 to study with Yoshito Ohno. From this research, she created the performative lecture Your Teacher, please in 2018. She also directs the company Parasite since its creation in 2015.
Since 2009, Ana Rita Teodoro has created the following choreographies: MelTe (2009), Curva (2010), Orifice Paradis (2012), Rêve d'Intestin (2013), Fantôme Méchant (2015), Plateau, Pavilion (2017) and FoFo (2019).
Her works have been presented in Austria (MUMOK and 8: tension Festival Impulstanz in Vienna); in Germany (Volksbüne in Berlin); in France (Théâtre de la Cité internationale and Palais de Tokyo in Paris, CND de Pantin, Théâtre de Vanves, Festival DãnsFabrik - Le Quartz in Brest, La Manufacture in Bordeaux, Festival Constellations in Toulon); in Portugal (Culturgest in Lisbon, MAteriais Diversos in Minde, Teatro Sá da Bandeira in Santarém, Festival DDD in Porto) and in Taipei City Porto) and in Taipei City in Taiwan.

Géraldine Foucault
After an initial training at the school of the Théâtre National de Strasbourg, she has oriented her activity for the last fifteen years towards the sound creation of choreographic and theatrical pieces. Thanks to her encounters with Alain Mahé, François Verret and Pierre Meunier, she developed very early on the creation of her own musical material through sound recording, real-time processing and rehearsals based on collective improvisations. With the authors Guillaume Vincent and Pierre-Yves Chapalain, she discovered the richness of introducing the sound score at the very moment of writing the text.
Her interest in instrumental music led her to compose with musicians such as Séverine Chavrier, Eve Risser, Noémi Boutin, Marie Nachury. She writes the music for several pieces by the choreographer Balkis Moutashar with Pierre-Damien Crosson (DJ).
For several years, she has been questioning sound as a material/audible material in projects related to puppet theater, which allow for a great deal of musical freedom. which allow a great freedom of musical writing with Élise Vigneron and Bérangère Vantusso. Among his most striking experiences technically, there is his meeting with Ircam and Olivier Pasquet (composer composer in musical data processing) on the pieces of Guillaume Vincent and Daniel Jeanneteau.