Anne Le Batard
She trains as a dancer in her native city, Marseille. She continues her training with Jackie Taffanel, Myriam Berns, Frey Faust, Gérard Gourdot, Hubert Godart, and Hervé Diasnas, whose teaching she follows throughout France. She is inspired by them to develop her own practice and the foundations of the specific dance technique of Ex Nihilo, which she creates in 1994. At the same time, she performs in Karin Vyncke’s company in Brussels. She returns to Marseille for L est Là by Georges Appaix – Cie La Liseuse.
She favours group pieces and the relationship with live music and develops a style based on listening and reactivity from long periods of immersion in situ. Her approach to dance is linked to her practice of images: she films and edits the images that she uses in several of the company’s shows. She regularly collaborates with other image makers.
Recognized for her work, she is regularly called upon to teach and transmit to a large audience the repertoire and the technique of the company in France and abroad: to professional dancers, actors, circus artists, and to schoolchildren, high school students and learners through workshops and trainings that focus on presence, density and interpretation, physicality in the dance, relationship, and reactivity to the other and the group.
He discovers dance during his studies at the UFRAPS Paris V. He continues his training with Pierre Doussaint, Hervé Diasnas, Catherine Diverrès, Thierry Baë, Bernardo Montet, Jean Gaudin, Roc in Lichen, Claude Brumachon and Jacques Patarozzi.
In 1991 he creates his first solo Le vide, and is selected at the Biennale du Val de Marne. He pursues a career as a performer with Pierre Doussaint, Roc in Lichen, Richard Mouradian, Karin Vyncke from 1994 to 1998, Héla Fattoumi, and Eric Lamoureux from 1992 to 1994 and from 1998 to 2002. In 2000, he works as assistant director of the show Vita Nova, created by Héla Fattoumi and Eric Lamoureux for the students of the CNAC school in Châlons-en-Champagne. In 1997 he joins Ex Nihilo, which he co-directs since 2000.
His career as a dancer-choreographer has always been associated with painting. It is with the material of the elements that he likes to work and in large format, for a more aggressive way of “attacking” the painting.
His work is regularly exhibited. His taste for diverting and manipulating objects also leads him to design play spaces.
See more on Jean-Antoine Bigot’s website.