Catherine Diverrès has said, “Conscience, our relationship with others, this is what creates time,” ever since her first choreographic creation. She is a sort of strange meteor, appearing in the landscape of contemporary dance in the mid-80’s. She stood out almost immediately in her rejection of the tenets of post-modern American dance and the classically-based vocabularies trending at that time. She trained at the Mudra School in Brussels under the direction of Maurice Béjart, and studied the techniques of José Limón, Merce Cunningham and Alwin Nikolais before joining the company of Dominique Bagouet in Montpellier, then deciding to set out on her own choreographic journey.

Her first work was an iconic duo, Instance, with Bernardo Montet, based upon a study trip she took to Japan in 1983, during which she worked with one of the great masters of butoh, Kazuo Ohno. This marked the beginning of the Studio DM. Ten years later she was appointed director of the National Choreographic Center in Rennes, which she directed until 2008.

Over the years, Catherine Diverrès has created over thirty pieces, created her own dance language, an extreme and powerful dance, resonating with the great changes in life, entering into dialogues with the poets: Rilke, Pasolini and Holderlin, reflecting alongside the philosophers Wladimir Jankelevich and Jean-Luc Nancy, focusing also on the transmission of movement and repertoire in Echos, Stances and Solides and destabilising her own dancing with the help of the plastician Anish Kapoor in L’ombre du ciel.

Beginning in 2000, she began adapting her own style of dance by conceiving other structures for her creations: she improvised with the music in Blowin, developed projects based on experiences abroad, in Sicily for Cantieri, and with Spanish artists in La maison du sourd. Exploring the quality of stage presence, gravity, hallucinated images, suspensions, falls and flight — the choreographer began using her own dance as a means of revealing, revelation, unmasking, for example in Encor, in which movements and historical periods are presented. Diverrès works with the body to explore the important social and aesthetic changes of today, or to examine memory, the way she did in her recent solo in homage to Kazuo Ohno, O Sensei.

And now the cycle is repeating, opening on a new period of creation with the founding of Diverrès’ new company, Association d’Octobre, and the implantation of the company in the city of Vannes in Brittany. Continuing on her chosen path of creation and transmission, the choreographer and her dancers have taken on a legendary figure, Penthesilea, the queen of the Amazons, in Penthésilée(s). In returning to group and collective work, this new work is indeed another step forward in the choreographer’s continuing artistic journey.


Irène Filiberti

The company


A Company?… “a community of experience.”

Dancers, loyal artistic and technical collaborators, musicians (without forgetting those who stay “in the shadows”): they are the nucleus for the gravitational movement of the pieces, creating a long term, living mobile space. The diversity of their talents and their personalities shapes and influences that space, through the creative process and over the lifetime of the works.


It is a precious compagnonnage, a word which in French means something beyond close collaboration. A dynamic, relational architecture, built from a shared aesthetic, ethical and sensitive perspective, always watchful and aware! A permanent work site open to meetings and changes. It is something very like a “community of experience” (cf. P. Bourdieu), in the sense that “community” is understood as a way of sharing “elective affinities.”

It is a community of desire, intellect, respect, humor and irreverence. True, and entirely essential. There aren’t a lot of these elective affinities which, between our past and the future, give meaning to our lives, and to our passions, our constructions, however chimeric they may be. It is these affinities which guide us, as they are true and incorruptible, due to not being worn down daily — and may be found in a process, a creation, an object. This is true creation, not targeting a being or an order which would impose limits. It is a flow with no particular quality, which is nonetheless spoken for, chosen.

The grace of meeting, hosting can itself be an event: in whichever venue and circumstance it happens, and in the smallest, most miniscule sense may inhabit us and accompany us for our lifetimes, changing us, influencing us. The dead as well as the living are part of this great curve, spiral, the internal and external cartography of our movements, gestures and words. They say: tell me who inhabits you and I shall say who you are. And if facing the irreparability of the world, we feel ourselves weakening, let us think instead of the extraordinary potential of finding new affinities to live (…) There is no boundary nor temporal limitation impeding these, our elective affinities.

Catherine Diverrès


Compagnie Catherine Diverrès

Association d’Octobre

Josette Joubier, President

Philippe Brzezanski, Treasurer

Monique Plouchard, Secretary

Jean-Marc Adolphe, Secretary adjoint



Pendant quatorze années, les créations intenses et exigeantes de la chorégraphe Catherine Diverrès, ont rythmé le calendrier du Centre chorégraphique national de Rennes et de Bretagne qu’elle dirigeait. Depuis janvier 2011, Catherine Diverrès a élu résidence sur le territoire de Vannes. Sa compagnie produit et diffuse ses spectacles, forme et sensibilise les publics en articulation avec la création artistique.

L’implantation de la compagnie Catherine Diverrès est formalisée par une première convention pluriannuelle d’objectifs 2012-2014, associant l’ensemble des partenaires institutionnels de la compagnie : la DRAC Bretagne, la Région Bretagne, le Département du Morbihan, la Communauté d’agglomération de Vannes agglo et la Ville de Vannes.

Dans le cadre du renouvellement de sa convention triennale 2015-2017, le Théâtre Anne de Bretagne approfondit sa relation partenariale avec la compagnie en faisant de Catherine Diverrès son artiste associée et en développant avec elle, un programme de sensibilisation à la danse contemporaine en lien avec la programmation du théâtre.

Le projet artistique et culturel de la compagnie Catherine Diverrès se décline en quatre axes principaux :

  • La création-production de spectacles, avec une attention particulière portée à la valorisation du répertoire
  • Le développement de la diffusion des spectacles aux plans régional, national et international
  • L’ancrage de la compagnie par la mise en œuvre, sur le territoire, d’actions de sensibilisation permettant une familiarisation avec la culture chorégraphique
  • L’utilisation du Studio 8 comme outil premier de création pour la compagnie se partage également pour l’accueil en résidences d’équipes artistiques, régionales ou nationales ; l’organisation de stages de formation pour un public professionnel, d’ateliers de pratique ou de découvertes à destination des publics amateurs.





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Since 1983, Catherine Diverrès has worked with many artistic collaborators such as the plastician Annish Kapoor, the choreographer Bernardo Montet, the set designers Goury and Daniel Jeanneteau; the filmmaker Téo Hernandez, and to create the lighting Dominique Bruguière and Pierre Yves Lohier; the musician Eiji NaKazawa; the sound designer Denis Gambiez; the photographers Lee Yanor, Antoine d’Agata, Fabio SgroÏ, and Didier Ben Loulou.

Over the past several years the choreographer has built her artistic team, with whom she works consistently. The dancers are Emilio Urbina, Rafael Pardillo, Thierry Micouin, Alessandro Bernardeschi, Harris Gkekas, Capucine Goust, Pilar Andres Contreras, Hakiko Hasegawa, Tamara Stuart-Ewing and Francesca Mattavalli.



Laurent Peduzzi is a plastician and a set designer. He has created sets for theatre and opera, notably for Elisabeth Chailloux, Adel Hakim, Vincent Colin, Pierre Romans, John Berry, Jacques Nichet, Jérôme Deschamps and Macha Makeïeff, Yves Beaunesne, Isabelle Janier, Robert Fortune, Jacques Rosner, Jean Michel Rabeux, Gilles Chavassieu, Carlos Barcena, Michel Rosenman, Claude Degliame, Michel Deutsh, Dominique Pitoiset, François Rancillac, Gildas Bourdet, Alain Milianti, Carlos Wittig, Jean-Luc Lagarce, Michel Didym, Antoine Bourseiller, Pierre Barrat, Stephen Taylor and Jean-Louis Benoit, and in film for Jacques Rouffio. He has been an artistic collaborator for Catherine Diverrès since 1999, creating sets for Corpus, 4+1 (little song), San, Cantieri, Solides, Alla prima, La Maison du Sourd, Encor, Blowin’, Ô Sensei, Penthésilées, Dentro and Blow the bloody doors off.



After studying aesthetics at the Sorbonne, Jean-Luc Guionnet, a saxophonist, developed many projects in the field of electroacoustic and improvized music. He collaborates regularly with Eric Cordier, Olivier Benoît, Eric La Casa and works with La Casa on workshops involving radiophonic creation at France Culture. He is a member of the editorial board of Terre des signes, a periodical open to non-Western cultures, published between 1995 and 1997 at l’Harmattan. Since 1995, he has participated in the creations of the company “Hop là! nous vivons.” And since 2007, he has been part of many of Catherine Diverrès’ creations: Penthésilées, Dentro, Blow the bloody doors off.



A well-known percussionnist, Seijiro Murayama has worked in France since 1999, having spent nearly 20 years in the field of improvized music. His work focuses primarily on the collaboration between music and other artistic activities: dance (Catherine Diverrès), video (Olivier Gallon), painting (François Bidault), photography (, literature, philosophy (Jean-Luc Nancy, Ray Brassier), performance (Diego Chamy) … which does not stop his participation in many other acoustic projects (with Jean-Luc Guionnet, Pascale Criton, Eric Cordier, Eric La Casa, Axel Dörner, Tim Blechmann, Seymour Wright, Toshimaru Nakamura, Toshiya Tsunoda). His principal interest remains improvization, even if he is not always able to practice it. His approach is based upon attention to the space and to the venue, to the energy in the audience, notably to the quality of silence at different levels (physical, social, ontological). He has  reflected upon questions of the idiomatic and non-idiomatic, “Idioms and Idiots” (with Jean-Luc Guionnet, Mattin, Ray Brassier 2009). Since 2010, he has been the curator of the “Personal and Collective” Festival in Ljubljana, Slovenia.



A lighting designer since 1985, Marie-Christine Soma was the lighting director at the Théâtre National de Marseille-La Criée, and later was an assistant to Henri Alekan and Dominique Bruguière. She created the lighting for works by Geneviève Sorin, Alain Fourneau, for the group Ilotopie; then, beginning in 1990, for works by Marie Vayssière, François Rancillac, Alain Milianti, Jean Paul Delore, Jérôme Deschamps and Macha Makeïeff, Eric Lacascade, Michel Cerda, and more recently for Eric Vigner, Arthur Nauzyciel, Catherine Diverrès, Marie-Louise Bischofberger, Jean Claude Gallotta, Jacques Vincey, Frédéric Fisbach, Eléonore Weber, Alain Ollivier …. In 2001 she began an artistic collaboration with Daniel Jeanneteau on Racine’s Iphigénie. At the same time she also conceived the lighting for two exhibitions/performances at the Grande Halle de la Villette, “Fêtes Foraines” in 1995 and “Le Jardin Planétaire” in 1999, as well as for the installation of the photographer Nan Goldin in the Chapelle de la Salpêtrière during the 2004 Autumn Festival in Paris. She has taught at the Ecole Nationale Supérieure des Arts Décoratifs in the Set Design section since 1998, at ENSATT in Lyon since 2004.



Cidalia da Costa brings her art in costuming to serve a text, a lecture, to the collective interpretation of a director and his or her company, with an instinctive taste for the co‑opting of materials and the mixing of periods. After studying the plastic arts, she began working in film, then live performance. For the theatre she created costumes for Pierre Ascaride, Didier Bezace, Vincent Colin, Gabriel Garran, Daniel Mesguich, Jacques Nichet, Philippe Adrien, Yves Beaunesne, Hubert Colas and Gilbert Tsaï. For contemporary dance, she has collaborated with Jean Gaudin, Bernardo Montet, Christian Trouillas and Catherine Diverrès, with whom she has worked for more than twenty years. Her clothing and costumes have been shown in major exhibitions at the Centre Georges Pompidou, the Grande Halle de la Villette as well as at the Comédie Française.



After earning a degree in performing arts & film and being certified as a projectionist, he decided to focus on lighting live performance.

He took over stage management for Mitoyen by Renaud Herbin, lit by Laurent Queyrut and also worked for the Compagnie Là Où. He created the lighting for Petites âmes, Plug and La queue de Mr Kat by Paulo Duarte, for Ritournelle by Julika Mayer, Pygmalion miniature, Actéon Miniature and Profils by Renaud Herbin.

At the same time he worked as a lighting designer for the theatre company Felmur in Rennes, and created the lighting for Preparadise Sorry Now by Rainer Werner Fassbinder, III by Philippe Malone and Chto interdit au moins de 15 ans by Sonia Chiambretto, directed by Gweltaz Chauviré. He recently created the lighting for Manto, a puppet piece by Uta Gebert. He also took over the stage management for Le soir des Monstres by Etienne Saglio, a new magic piece lit by Elsa Revol, and for Blowin’, Ô Senseï, Solides and Penthésilées by Catherine Diverrès, contemporary dance works lit by Marie-Christine Soma.

He is currently working on the creations Novo by Paulo Duarte, 20 à 30,000 jours by Fanny Bouffort, Dentro by Catherine Diverrès and Landru by Yoann Pencolé.



La Compagnie Catherine Diverrès/ association d’Octobre receives support from

  • the Ministry of Culture and Communication/ the Direction régionale des affaires culturelles of Brittany
  • the Départemental Council of Morbihan
  • the Regional Council of Brittany
  • the extended Community of Vannes Agglo

Catherine Diverrès is an Associated Artist at the Théâtre Anne de Bretagne in Vannes and receives support from the ciy of Vannes and from the TAB for facilitating use of Studio 8

The French Institute and Live Performance in Brittany support the company in its touring in France and abroad.