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LIVING!

new creation cycle

LIVING! because the breath of creation is the very expression of life, carrying with it our civilizational heritage, our contemporary concerns and our desire to be part of building a sustainable future.
LIVING! by being acutely aware of our relationship to a world in constant evolution, to nature, to the universe, to environmental, societal, political, physical and metaphysical challenges.
LIVING! because our bodies in their presence in the world are at the heart of the project: the body in all its components, the universal body, the material body, the social body, the political body, the identity body, the cultural body, the trans-generational body, the body as receptacle and transmitter of poetics, the body as ultimate place of resistance.
LIVING! Because these six letters followed by an exclamation mark are simultaneously an observation, an injunction, a joy, a promise, a slogan, a hope and an oath.

about

"... Éric Oberdorff’s Compagnie Humaine which touches us systematically without the shadow of a false note, by the spirituality inhabiting his work..."   - BALLROOM -
"... From the outset, one is struck by the scope and the sensitive emotional commitment of the work of this choreographer unclassifiable in the world of dance..."   - DANSER -
"... To make utopia to become reality is also what the Compagnie Humaine is all about...."   - LA STRADA -

Having started its activities in September 2003, the Compagnie Humaine gathers artists of all backgrounds to develop ambitious interdisciplinary projects. Its choreographer and director Éric Oberdorff creates in a subtle way pieces with universal themes putting human being at the heart of creation. The Compagnie Humaine has produced more than thirty projects for stage, screen or alternative spaces which are performed on tour in France and abroad.
Recognized actor of artistic and cultural lives on its territory, the Compagnie is attached to the democratization of contemporary dance and very committed in the socio-cultural fabric. Its artists are also strongly involved in their missions of education, training and transmission, particularly for the youngest and for people in a situation of social fragility.


The Compagnie Humaine carries out projects that highlight the strong and privileged relationship with music that Éric weaves into his creative work and his writing. He has especially the desire to put musicians and singers into play and into movement together with the dancers. His training and performance career in major opera houses have fostered his curiosity and interest in exploring new paths and possible relationships. Éric never stops looking for, experimenting with and reinterpreting in his projects the possibilities of putting into body and movement not only all the performers, whatever their original discipline of expression, but also the sets and props. To do this, he surrounds himself with the creators and artists who collaborate in the projects of the Compagnie Humaine, with whom he has developed a strong artistic bond, but he also goes to meet other movement disciplines such as the circus.


This singular signature and his expertise provoked artistic encounters and convergences, wether for the creations of the Compagnie Humaine or for works commissioned by opera houses and instrumental and vocal ensembles in France and abroad, such as the Festival d’Aix-en-Provence (creation of the opera Seven Stones composed by Ondřej Adámek on a libretto by Sjón, “powerfully original work“ - Libération newspaper), the Opéra Nice Côte d’Azur (operas Phaéton, Noye’s Fludde, The Olympiade of the Olympiades), the music ensembles Les Paladins, Resonanz and Matheus, the vocal ensembles ChorWerk Ruhr, Les Métaboles or N.E.S.E.V.E.N., the company's long-term partner.


Keen photographer, and cinema enthusiast since ever, Éric has integrated a new dimension drawing from the arts of image into his choreographic process since more than twelve years. The use of filmed images allows him to develop hybrid and innovative narrative process. He considers the camera as a separate performer, whose moves are choreographed according to the dancers’ movements. Beyond the camera’s subjectivity that guides the viewer’s gaze, filmed images also allow through editing to have another relationship with time in the dramaturgical development of the work. His films are screened at festivals around the world and have received numerous awards. Eric extends this relationship to dance on screen with programming two international events which he co-founded: the Nice Dance Film, a selection of dance films in partnership with the European Short Film Festival of Nice (since 2018), and Mov’in Cannes, a dance film competition within the Festival de Danse Cannes Côte d’Azur France, of which he is artistic co-director (since 2022).

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