Garota de Ipanema features a woman at her window, and then a man in an empty street. The movement is not in the dance, but in the situations and how they are transformed into images. Looks, reunions, quarrels: what the two interpreters let us see first and foremost are those small moments when life escapes us. 

Multiple incidents that provoke the disorder of bodies and nurture the choreographic material of Serge Ricci. The evocation of the famous Brazilian song results here in a story of desire recounted in a furtive mode. The briefness of the bursts of emotion, the clashes of the separations: the choreographer of the Mi-Octobre company plays with the expected and the unexpected, a form of composition often present in his work.

Source : Fabienne Arvers

After training at Rosella Hightower at Cannes, while pursuing a performance career in various companies, he is conducting research on various bodily techniques (Alexander, Body Mind Centering) but especially towards the Feldenkrais technique he s' oriented. This practice allowed him to renovate the intuitive body and develop a different approach to movement always danced guided by a sense of sharing. This research has given him the opportunity to grow a body control that has become concern in teaching and choreography.

Source : Mi-octobre company

Based on a simple principle, in the continuity of the collection Une Danse, le temps d'une chanson, Patrice Nezan proposes a series of seven short films, each bringing together a choreographer and a director. In these “choreogra-films”, music imprints its duration and atmosphere on each of the choreographic universes. Journeys to ephemeral worlds, the strangeness of which is due as much to the quality of the images as to the situations imagined.

It understands : Adesso basta !, Besame Mucho, Daïté, Erè mèla mèla, Garota de Ipanema, La Habanera, Ya Rayah.