La mécanique des anges

Creation date : 2009


Mécanique des anges (La)

Choreography Thomas Guerry, Camille Rocailleux

Dance performance Aline Braz de Silva, Arnaud Cabias, Romie Esteves, Caroline Rose, Nicolas Martel, Clément Ducol, Christian Boissel, Olivia Scemana

“Uprooting, wandering, cohabitation, re-connection with our instincts, these are the central notions that we deal with in the work. In addition, we are interested in the rapport that we keep up with our own image, starting from the premise which states: by a mirroring effect, one's self-image and the image of the other give rise to questions which step outside the strict artistic or narcissistic frame, and permit the enrichment of our connection with the world and with ourselves. Each performer takes part in both the musical dialogue and the choreographic dialogue.

The writing of our performances is a ‘four-handed' affair. What connected us from the start of our work together was this idea that we shared fully, that there should not be musical writing on one side and choreography on the other, which would find its life and breath in the time and tempo of the other. Neither would the choreography dominate with the music serving as accompaniment. But that everything would advance, would be created in the same progression, in a ceaseless dialogue, each enquiring of the other, evolving in the same forward movement. The story line, as such, is kept as a kind of support. What really counts is the ‘echo' which is inevitably produced by this process, by the interpretations of one and the other. Similarly, we expect our performers in their turn, with their own and unique being, to enrich (that is to say, modify) the given directions. In our auditions, we have up to now favoured talented younger people, like ourselves at the end of the day. This time, and we arrived at this quite naturally by the evolution of our own views, we wanted to take a closer look at old age, that ‘problem' stage of life, and give it its own energy. In our third piece, even more than previously, we pay more attention to the use of the voice as a powerful vector of emotions, as well as the body, that of the dancer as much as that of the musician, bodily ‘states', their presence in the world, their capacity to recount, to themselves alone, the sum of a narrative or a situation.

We have chosen not to perform in our new work so that we can ensure that we do not depart from the intentions which form the basis for our investigations:

-the meeting of periods, personalities, destinies, being involved in the present rather than the past or future of our characters

- their journey rather than their arrival point

- sensitive rather than cerebral

- letting go rather than absolute control

- the fantasy of the improbable rather than the authority of the logical

- the “sample” (as a selected part of the whole) of the individuals, their acts, in space and time, here and now, rather than the clearly-defined context

- telescoping of reason rather than coherence

- subtle evocation of recurring themes rather than ‘ready-prepared' messages

- the fragility of one who ventures into unknown territory rather than pure, perfectly-controlled performance

- the intimate and unique emotional journey of each member of the audience rather than a linear story”

Thomas Guerry, Camille Rocailleux

Source : Maison de la Danse programme


Conception, mise en scène Thomas Guerry, Camille Rocailleux chorégraphie Thomas Guerry musique Camille Rocailleux danseurs Aline Braz de Silva, Arnaud Cabias chanteuse lyrique Romie Esteves chanteuse, guitariste Caroline Rose chanteur Nicolas Martel percussionniste Clément Ducol pianiste Christian Boissel contrebassiste Olivia Scemana lumière Bruno Sourbier réalisation sonore Olivier Pfeiffer décor Giovanni Parisse costumes Atelier Bonnetaille, Charlotte Pareja asistée de Nicole Cholat, Sébastien Cormier

Réalisation Charles Picq date du document vidéo 2009 production Maison de la Danse

Updating : January 2011

Rocailleux, Camille

Born in 1977, he studied piano, musical writing and classical percussion instruments from 1984 to 1999 and was awarded 1st prize from the Conservatoire national supérieur de Lyon (Higher National Conservatory of Music of Lyon).

Since 1997, he has performed with various formations such as the National Orchestra of Lyon, the National Opera of Lyon, the National Orchestra of Toulouse, the Ensemble Odyssée …

In 2000, he founded the companie Arcosm with Thomas Guerry, which was to mark the beginning of an important artistic partnership and the creation to date of four musical and choreographed works “Echoa”, “Lisa”, “La Mécanique des Anges” and “Traverse”, which continue to flourish today through national and international tours throughout the world.

In addition, he has received a myriad of requests for compositions for the theatre in France and abroad (Yannick Jaulin, the compagnie G. Savary, Laurent Brethomme, Karen Acioly, Mona Heftre…), for cinema and television (Gaël Morel, ARTE, Jean-Pierre Lledo…), for instrumental formations (the Philharmonic Orchestra of Luxembourg, the Dance Biennial Parade…), and he has also embraced the world of French and international song alongside artists like Daphné, Benjamin Biolay, Camille, Caroline Rose…

More recently, he was granted a “Carte Blanche” (an unconditional licence) for the Espace Malraux (Scène Nationale of Chambery), which has provided him with the opportunity to develop his exploration of musical theatre, to imagine atypical mixes between highly-varied forms of expression such as body percussions, lyrical singing, death metal growling, human beat-box, etc.

In November 2012, the Arcosm Company presented Solonely at the Toboggan in Décines. The following year, they created Bounce!, a piece aimed at a young audience, before becoming associated artists at the Maison de la Danse in Lyon for the 2013-2014 season.

Sources : Compagnie Arcosm

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Updating : january 2014

Guerry, Thomas

Born in 1978, he trained at the Conservatoire National de Région, Lyon, then at the Conservatoire National Supérieur de Musique et de Danse, Lyon. He honed his skills by training with Odile Duboc, Fabrice Ramalingom, Hélène Cathala, Betty Jones…In 1999 he joined the Skanes Dance Theatre in Sweden. He went on to dance for the Carnets Bagouet: "Meublé Sommairement” in 2000, “Matière Première” in 2002, for the La Veilleuse/Christine Jouve company: “ Les Allées et Venues” in 2000, “Dehors” in 2002, “Le Roi des Bons” with Bernard Glandier, and with Thomas Lebrun: “On prendra bien le temps d'y être” in 2001, “(La) Trêves” in 2004, “What you Want” in 2006 and “Switch” in 2007.

In late 2000 he founded the Arcosm company with Camille Rocailleux and premièred the piece “ECHOA” in November 2001. He participated in the choreography of Ensemble Odyssée's show “Carnets de Note” (Notebooks) in 2003. With Sylvie Giron he choreographed the alternative version of "Diplôme d'Etat” by EAT (2004). Interested by the relationship between music and dance, he collaborated with the Bump percussion trio, directing “Troy” in 2004, which brought together the musicians with theatre and dance. He has co-written two screenplays for full-length films with Bertrand Guerry.

In 2006 he composed “LISA » with Camille Rocailleux for Arcosm. In 2008 he was invited to work with the Carnets Bagouet to restage a repertoire work “Les Petites Pièces de Berlin” for the Ballet de Nancy, and with Ensemble Odyssée to direct their piece "Le concert interdit”. During 2009 he concentrated his efforts on writing the the Arcosm company's new work, “La Mécanique des Anges”.

In 2010, requested by the Theatre du Vellein, Thomas Guerry directed a group of 200 amateurs who were to take part in the Biennale de la danse in Lyon. He choreographed the video clip for Caroline Rose (singer and guitarist), and went on to direct her concert. He was invited by Cédric Marchal to put his latest opus “Oskar and Viktor 2” into movement. He created “Traverse”, the fourth piece of the compagnie Arcosm with his acolyte, Camille Rocailleux.

In November 2012, the Arcosm Company presented Solonely at the Toboggan in Décines. The following year, they created Bounce!, a piece aimed at a young audience, before becoming associated artists at the Maison de la Danse in Lyon for the 2013-2014 season.

Sources: Arcosm

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Updating: january 2014


Artictic Director Thomas Guerry, Camille Rocailleux
Creation 2001

Founded in Lyon in 2001, Arcosm is co-directed by Thomas Guerry (dancer, choreographer and director) and Camille Rocailleux (percussionist, pianist and composer). The company has chosen as its main focus all forms of crossover and links between different disciplines and artistic vocabularies. It is based on the multiple ways music, song and dance can interlock. The voice, as material, rhythm, melody, timbre or texture, is an inseparable part of the musical world and adds colour, shape and theatricality to the characters. The specific skills and abilities of the performers are taken into account, but they are also invited to explore other less-familiar modes of expression. In this way, the experimentation spaces provoke new dynamics where extremely well-mastered techniques are to be found alongside precious and indispensible “fragilities”, which act as a kind of sensitive and emotional intrusion. Agitation, de-compartmentalisation: every enterprise founded based on curiosity allows apparently-distant fields of activity to be attained. So, we have no intention of suggesting a sharing of existing rules. We are coming with the ambition of constructing trajectories together which have no predetermined destination, strategies and bifurcations. We are building a set of stretches of road alongside the road, as a way of broadening the field of vision. Fragmented, fiery, audacious, serious or funny, the company's shows reflect our everyday world, times in our lives that are sometimes chaotic, sometimes rebellious or madly euphoric, but always with emotions near the surface. The piece “Echoa”, the company's first creation (2001) in Angoulême for two dancers and two musicians, has been performed over four hundred times on French soil and has been performed by invitation in Brazil, Luxembourg, Wales, Japan and many North American states. As demands to host the piece both in France and abroad continued, even when its two creators were engaged on their second project (as performers as well as choreographers), they chose to retain it and “hand it on” to young performers, musicians and dancers like themselves, coming from similar training backgrounds (Lyon and Paris conservatoires). 

Source: Maison de la Danse programming

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Updating: February 2011

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