{"id":50844,"date":"2026-11-09T12:44:17","date_gmt":"2026-11-09T11:44:17","guid":{"rendered":"https:\/\/caminaktion.eu\/?page_id=50844"},"modified":"2026-11-09T14:45:02","modified_gmt":"2026-11-09T13:45:02","slug":"hypeocc-plier-deplier-peuplier","status":"publish","type":"page","link":"https:\/\/caminaktion.eu\/en\/hypeocc-plier-deplier-peuplier\/","title":{"rendered":"HYPE OCC | Plier D\u00e9plier Peuplier"},"content":{"rendered":"\n<link rel=\"stylesheet\" href=\"https:\/\/fonts.googleapis.com\/css2?family=Barlow:wght@500;600;700;800&#038;display=swap\">\n<style>\n\n#cf50844{--ink:#2b2a33;--ink2:#55525f;--line:#e2dfe9;--ac:#e8222d;--gold:#f7c548;font-family:Barlow,Arial,sans-serif;color:var(--ink);font-weight:500;line-height:1.5}\n#cf50844 *{box-sizing:border-box}\nbody.page-id-50844 #cf50844 *:not(svg):not(#x1):not(#x2),body.page-id-50844 #cf50844:not(#x1):not(#x2){font-family:Barlow,Arial,sans-serif!important}\nbody.page-id-50844 #main-content .entry-title,body.page-id-50844 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20px;text-decoration:none;border-radius:3px}#cf50844 .bt{margin:10px 0 0;font-size:14px;color:var(--ink2)}#cf50844 .sg{margin-top:14px;font-weight:700}\n@media(min-width:861px){#cf50844 #p2 .w{display:grid;grid-template-columns:auto minmax(0,1fr);column-gap:36px;align-items:start}#cf50844 #p2 .w>h2,#cf50844 #p2 .w>.art,#cf50844 #p2 .w>.met{grid-column:1\/-1}#cf50844 #p2 .ph{grid-column:1;grid-row:4;margin:0}#cf50844 #p2 .g{grid-column:2;grid-row:4;grid-template-columns:1fr!important;margin:0}}\n<\/style>\n<div id=\"cf50844\"><div class=\"w\"><a class=\"back\" href=\"\/en\/agenda\/\">\u2190 HYPE OCC agenda<\/a><img decoding=\"async\" class=\"logo\" src=\"https:\/\/caminaktion.eu\/wp-content\/uploads\/2026\/10\/hype-occ-ghetto-ligne.png\" alt=\"HYPE OCC\"><span class=\"cart\">Fri. 13 &amp; Sat. 14 Nov. \u00b7 Studio Bagouet, Agora \u00b7 Montpellier<\/span><h1>Plier D\u00e9plier Peuplier<\/h1><p class=\"lede\">A single project by Virgile Dagneaux, played out in three different ways: a confidence-show about the work of time.<\/p><div class=\"nav\"><a href=\"#p1\"><b>D\u00e9plier<\/b><span>Fri. 13 Nov. \u00b7 6pm<\/span><\/a><a href=\"#p2\"><b>Peuplier<\/b><span>Sat. 14 Nov. \u00b7 8pm<\/span><\/a><\/div><\/div><section class=\"pc\" id=\"p0\"><div class=\"w\"><div class=\"g\"><div class=\"tx\"><p class=\"in\"><strong>Becoming aware of the death of my youth, the end of the beginning. More precisely, the end of the youth of my dancer\u2019s body, which, with age, is transforming\u2026 into something else.<\/strong><\/p><p>I like to try to answer serious questions by offering joyful, poetic and light resolutions. But then, how do you go from entropy to the poetic?<\/p><p><em>Plier D\u00e9plier Peuplier<\/em> is a single project played out in three different ways. A confidence-show about the work of time. A fall\u2026 but forwards.<\/p><p><strong><em>Plier<\/em><\/strong> takes the form of a solo, infused with choreography, gesticulation, humour and intimacy. I look at what is left of my body, with its falling hair and its stumbling knees. Patiently setting about mapping it, then taking an inventory of its gestures: what remains of 20 years of practising academic dances and so-called \u201ccontemporary\u201d ones, of exploring rhythm \u2014 through tap dance and the percussive body \u2014 but also of tours and cracks? How can I have fun modulating my gestures through repetition, transgression, the fall, the distortion of time, exploring the grotesque, the sensual, play? How do we go from the intimate to the common?<\/p><p>For <strong><em>D\u00e9plier<\/em><\/strong>, I add a scenographic device. Intimate in form, I invite the spectator as close as possible. Seats on stage left and right allow them to scrutinise the dark corners, feel the crash of the falls and see the sweat glisten on my skin. The proposition is addressed to them directly and at its rawest. Once this frame is set, I add to the gestures discovered in <em>Plier<\/em> a dialogue with mechanical devices borrowed from new magic. These mechanisms \u2014 disturbing reality \u2014 draw my body into a dialogue with time. A scenography made of fragile, rickety objects, collapsing gradually and inevitably: spherical plaster mobiles that rise and spin, a Pandora desk, an asthmatic metro-drone\u2026<\/p><p>As a resolution, the audience is invited onto the stage to dance on the ashes of this set reduced to pieces, in a gigantic end-of-the-world disco ball\u2026<\/p><p>Finally, for <strong><em>Peuplier<\/em><\/strong>, the solo becomes a duet. I invite a peer, haunted by these same questions, to co-recreate a unique performance. A short period of work beforehand on the material of <em>Plier<\/em> to move together into the set of <em>D\u00e9plier<\/em>, and play at being a mirror, being a ghost, being a presence, for a performance that is unique every time.<\/p><p>I will soon be 40 and I am still a sleepwalker, caught somewhere between my dreams and reality. May our entropy be a celebration, teeming, funny and inhabited by dancing gestures.<\/p><p class=\"sg\">Virgile Dagneaux<\/p><\/div><aside><h4>Virgile Dagneaux<\/h4><details><summary>Biography<\/summary><div><p>Virgile Dagneaux began dancing with tap dance at the age of 8. A few extra steps took him through classical, contemporary, jazz and hiphop dance.<\/p><p>His career as a performer led him to collaborate with Leela Petronio, J\u00e9r\u00e9mie B\u00e9linguard, Kader Attou, Mathilde Monnier, Anne-Marie Porras and Salia Sanou.<\/p><p>In 2015, he founded the company Virgule, and has since created several pieces: <em>Pingouin<\/em> (2017), a danced tale for young audiences, performed 200 times around the world, on a basketball court in an Argentine favela and at the Op\u00e9ra Bastille. <em>Monstres<\/em> (2018), a singular pas de deux with two exceptional dancers: through the bodies of Manuel and Kwam\u00e9, we talk about difference, strangeness and living together. <em>Les Monts Brumeux<\/em> (2022), the story of a man who rains, mixing narrative bodies, farce, new magic and the diversion of objects.<\/p><p>Since 2023, he has been creating various forms for non-dedicated spaces, in search of a going-towards: <em>L\u2019Empereur<\/em>, a revival of the piece <em>Pingouin<\/em> (a screen, a dance floor, a few spotlights and a video projector make it possible to perform anywhere), and <em>Royaume(s)<\/em>, an all-terrain trio, funny, poetic and spectacular, offered to everyone.<\/p><p>Outside the company, he assists Kader Attou and Mourad Merzouki on the piece <em>Danser Casa<\/em>, and co-choreographs <em>El \u00faltimo baile del rey<\/em>, a ballet for 30 Argentine dancers. In 2024, he choreographs the show <em>Don\u2019t Disturb<\/em>, by the company Kourtajme.<\/p><\/div><\/details><\/aside><\/div><\/div><\/section><section class=\"pc\" id=\"p1\"><div class=\"w\"><h2>D\u00e9plier<\/h2><p class=\"art\">Virgile Dagneaux, Virgule company<\/p><p class=\"met\">Fri. 13 Nov. \u00b7 6pm \u00b7 Almost a solo \u00b7 dance, text and new magic \u00b7 1 h<\/p><div class=\"ph\"><img decoding=\"async\" src=\"https:\/\/caminaktion.eu\/wp-content\/uploads\/2026\/10\/ho26-sp-1311.jpg\" alt=\"D\u00e9plier\"><\/div><div class=\"g\"><div class=\"tx\"><p>What remains of twenty years of dance in a changing body? Virgile Dagneaux goes through his gestures, from tap dance to falls, and enjoys repeating them, distorting them, pushing them to the burlesque. The audience is close enough to hear the crash of the falls. Around the dancer, plaster spheres spin and wobbly objects eventually give way. As the set comes undone, the confidence takes on the air of a party. At the end of the fall, the audience is invited onto the floor for an end-of-the-world disco ball.<\/p><p><a class=\"bk\" href=\"https:\/\/caminaktion.eu\/produit\/deplier-cie-virgule-virgile-dagneaux\/\">Book D\u00e9plier<\/a><\/p><\/div><aside><h4>Credits<\/h4><div class=\"cr\"><div><span>Choreography, performance<\/span>Virgile Dagneaux<\/div><div><span>Music<\/span>Benjamin Chaval<\/div><div><span>Scenography<\/span>Maria Clara Castioni<\/div><div><span>Lighting<\/span>Lucas Prudhomme<\/div><div><span>Stage management<\/span>Lucas Prudhomme and Th\u00e9o Vuillemier<\/div><div><span>Outside eye<\/span>Mathilde Monnier<\/div><div><span>Production<\/span>Compagnie Virgule with the support of DRAC Occitanie, R\u00e9gion Occitanie, D\u00e9partement de l\u2019H\u00e9rault and Montpellier M\u00e9diterran\u00e9e M\u00e9tropole<\/div><div><span>Coproduction<\/span>Collectif En jeux, R\u00e9seau Danse Occitanie, Th\u00e9\u00e2tre de Suresnes Jean Vilar \u2013 festival Suresnes Cit\u00e9s Danse, Th\u00e9\u00e2tre Moli\u00e8re S\u00e8te \u2013 SN Archipel de Thau, SCOPIE, L\u2019Agora Cit\u00e9 Internationale de la Danse \u2013 CCN Montpellier, Cie Mathilde Monnier, Arts Fabrik, P\u00f4le de d\u00e9veloppement chor\u00e9graphique Bernard Glandier<\/div><div><span>Studio residencies<\/span>L\u2019Agora, Th\u00e9\u00e2tre Jacques C\u0153ur, camin aktion, Cie Accrorap \u2013 La Friche Belle de Mai<\/div><\/div><p class=\"bt\">Prices: \u20ac18 \/ \u20ac16 \u00b7 combined ticket 13 + 14 November: \u20ac34 \/ \u20ac30.<\/p><\/aside><\/div><\/div><\/section><section class=\"pc\" id=\"p2\"><div class=\"w\"><h2>Peuplier<\/h2><p class=\"art\">Virgile Dagneaux with Sandrine Lescourant<\/p><p class=\"met\">Sat. 14 Nov. \u00b7 8pm \u00b7 Choreographic duet \u00b7 a performance created for the occasion<\/p><div class=\"ph\"><img decoding=\"async\" class=\"pt\" src=\"https:\/\/caminaktion.eu\/wp-content\/uploads\/2026\/10\/ho26-sp-1411.png\" alt=\"Peuplier\"><\/div><div class=\"g\"><div class=\"tx\"><p>In <em>Peuplier<\/em>, the solo <em>D\u00e9plier<\/em> opens up to another presence. For this performance, the dancer and choreographer Sandrine Lescourant joins Virgile Dagneaux. In three days, the two artists take up the gestures of the solo and replay them as a duo in the set of <em>D\u00e9plier<\/em>. By turns mirror, ghost or partner, each bends the other\u2019s dance. From this encounter comes a new version of the piece, to be discovered for a single performance.<\/p><p><a class=\"bk\" href=\"https:\/\/caminaktion.eu\/produit\/peuplier-cie-virgule-sandrine-lescourant\/\">Book Peuplier<\/a><\/p><\/div><aside><h4>Credits<\/h4><div class=\"cr\"><div><span>Choreography and performance<\/span>Virgile Dagneaux, Sandrine Lescourant<\/div><div><span>Production<\/span>Compagnie Virgule with the support of DRAC Occitanie, R\u00e9gion Occitanie, D\u00e9partement de l\u2019H\u00e9rault and Montpellier M\u00e9diterran\u00e9e M\u00e9tropole<\/div><div><span>Coproduction<\/span>Collectif En jeux, R\u00e9seau Danse Occitanie, Th\u00e9\u00e2tre de Suresnes Jean Vilar \u2013 festival Suresnes Cit\u00e9s Danse, Th\u00e9\u00e2tre Moli\u00e8re S\u00e8te \u2013 SN Archipel de Thau, SCOPIE, L\u2019Agora Cit\u00e9 Internationale de la Danse \u2013 CCN Montpellier, Cie Mathilde Monnier, Arts Fabrik, P\u00f4le de d\u00e9veloppement chor\u00e9graphique Bernard Glandier<\/div><div><span>Studio residencies<\/span>L\u2019Agora, Th\u00e9\u00e2tre Jacques C\u0153ur, camin aktion, Cie Accrorap \u2013 La Friche Belle de Mai<\/div><\/div><h4>Biography<\/h4><p>Sandrine Lescourant is the creator and choreographer of Cie Kila\u00ef. She is also known as Mufasa, a name she owes to the world of hiphop dance battles, where she earned her stripes. Associate artist at L\u2019Agora for 2027-2028.<\/p><p class=\"bt\">Prices: \u20ac18 \/ \u20ac16 \u00b7 combined ticket 13 + 14 November: \u20ac34 \/ \u20ac30.<\/p><\/aside><\/div><\/div><\/section><div class=\"cp\"><p>Photo credits \u2014 <em>D\u00e9plier<\/em>: Robin Manogil \u00b7 <em>Peuplier<\/em>: B\u00e9rard Bonnicelli \/ Le Poulpe (montage)<\/p><\/div><\/div>\n","protected":false},"excerpt":{"rendered":"<p>\u2190 HYPE OCC agendaFri. 13 &amp; Sat. 14 Nov. \u00b7 Studio Bagouet, Agora \u00b7 Montpellier Plier D\u00e9plier Peuplier A single project by Virgile Dagneaux, played out in three different ways: a confidence-show about the work of time. D\u00e9plierFri. 13 Nov. \u00b7 6pmPeuplierSat. 14 Nov. \u00b7 8pm Becoming aware of the death of my youth, the [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"class_list":["post-50844","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/pages\/50844","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/comments?post=50844"}],"version-history":[{"count":3,"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/pages\/50844\/revisions"}],"predecessor-version":[{"id":50863,"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/pages\/50844\/revisions\/50863"}],"wp:attachment":[{"href":"https:\/\/caminaktion.eu\/en\/wp-json\/wp\/v2\/media?parent=50844"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}