Hélène Iratchet

Residence / Production déléguée
From 8 November to 21 June 2021

With support from Les SUBS, Hélène Iratchet will be an artist in residence at Les SUBS and other venues in 2021 and 2022 for her project Les Délivrés.


Caught up in a continuous stream of home deliveries, a mother and daughter rehearse a show inspired by their hero, the American choreographer William Forsythe. But the people who deliver their packages don’t always arrive at the right time in the right place. How do we get stuck in the implacable cyber-logistics between body and object?

Excerpt from the statement of intent

The delivery, the work

In this new piece, I’m continuing with and refining my work as an artist and choreographer, embedding my art in a social phenomenon and my own life, constructed from my identity as a woman artist in France in 2021. I want to bring a bit of real life onto the stage, reproduce it, and replay it starting with a simple situation: two dancers, a mother and daughter, whose rehearsal is interrupted when something is delivered (UPS or Deliveroo on a bike; the brand names will be changed). The point is to see if the “protected, privileged, almost domestic” space of a rehearsal studio in a theater absorbs the disruption, and if so how. The disruption can be represented by the arrival of another type of worker: the delivery person.

I’m interested in the driver/bike deliverer because he embodies a sort of messenger, a Santa Claus, a servant. I don’t really meet this person because the exchange—a signature on a tablet for a package—usually lasts just a few seconds. And the driver barely notices me. I’m like a tiny piece of a mosaic composed of glimpses of domesticity.

Family, relationships, rewriting history

I’m the first artist in my family on either side, so I want to rewrite my family history by imagining that I’m the daughter of a dancer. Naturally, my mother will have danced for Trisha Brown, William Forsythe, Angelin Preljocaj, and Anne-Teresa de Kaersmeeker. Although I don’t have any academic dance training, I admire these artists and dream of being able to perform their dances. Maybe I’ll give them a nod by using the music they used: Thom Willems, Steve Reich, Bach, or Monteverdi.

I also imagine that after a UPS delivery, a driver from Danceathome or Toutlemondedanse will show up to teach us a dance, a sort of tutor who teaches in clients’ homes. All of the big American dance and ballet companies have set up a service like this and it’s just catching on in France. The piece will include moments of “pure dance” and conversations between the mother and daughter about how lucky they are to be dancers, conversations between the various delivery people about the quality and origins of the products they deliver and delivery errors (costumes that are too big or too small, or completely off-the-wall, inappropriate items). The delivery person might also get phone calls from their mother while making deliveries. We’ll perform scenes from Unboxing (with product placements? Like in The Truman Show, Peter Weir’s 1998 film with Jim Carrey).

Hélène Iratchet is an artist, choreographer, dancer, and videographer. She’s lived in Tarbes, Toulouse, Roubaix and Paris, and now lives in Saint-Etienne. After training as an athlete (in Texas, with Carl Lewis’s trainer) and studies in the humanities, she studied dance at a conservatory, the Centre de Développement Chorégraphique National Toulouse Occitanie, the Merce Cunningham Studio in New York, and many workshops and intensives.

At the same time, she was a student at Fresnoy, Studio National des Arts Contemporains in Tourcoing between 2005 and 2007, where she made a short film. In 2015 she started the SPEAP master’s program in experimentation in art and politics at Sciences Po Paris, created and directed by philosopher Bruno Latour. In 2017 she helped create Prototype and found Royaumont, directed by Hervé Robbe (Corps virtuose/Corps amateur, quel corps à l’œuvre dans la danse contemporaine?)

Since 2004 she has created several shows: the solo En privé at Babylone, the duet Jack in the box, the quatuor Hommage d’un demi-dimanche à un Nicolas Poussin entier, the duets Roi et Reine at Montpellier danse and SOCLE with the author Pauline Klein as part of the Concordanse(s) festival, and the duet Rose, co-authored with Rachel Garcia for the entre cour et jardins festival. Her most recent piece is Sketches, which she performs with the Chinese dancer ErGe Yu. At the invitation of artist Delphine Coindet, she created the outdoor performances Des gestes choisis (2017, Nuit Blanche at the Collégiale Saint-Martin de la ville d’Angers) and Mon club de plongée (2019) at MIAM, Musée des Arts Modestes in Sète.

She has also worked as a dancer since 2001, in particular with Gisèle Vienne and Etienne Bideau-Rey, Thierry Bédard, Christian Rizzo, Herman Diephuis, Thierry Baë, David Wampach, Julie Desprairies, Sylvain Prunenec, Xavier Le Roy, and Ivana Muller. She has also performed in performance art pieces and films by the artists Pauline Curnier-Jardin, Ulla Von Brandenbourg, Tino Sehgal, Alex Cecchetti, and filmmaker Shalimar Preuss.

A designer, visual artist, and dancer, Rachel Garcia works in the performing and visual arts. She holds a DNSEP in spatial design from Ecole Supérieure des Beaux Arts de Toulouse (ISDAT) and trained at the same time as a contemporary dancer at Conservatoire National de Toulouse, in Compagnie Colline in Istres, at CDC de Toulouse, in New York with the Merce Cunningham and Trisha Brown dance companies, and with Compagnie Damaged Goods, Meg Stuart in Zurich.

During her time working with David Wampach, she designed costumes that explore nudity and the limits between the body and its physical environment. Through this exploration, she developed a creative approach tied to the choice of material and its effect on how the body is perceived and understood. She has been helping Hélène Iratchet with her work since 2001, when she created costumes for and danced in the duet Prestissimo, and has designed the props, costumes, and sets for most of Iratchet’s pieces since then.

With Pauline Curnier-Jardin she has been continuing her research on artistic costumes since the film Grotta Profunda – Les Humeurs du gouffre (2011) and has designed costumes and sets for her performance art pieces, films, and installations. She also co-authored the performance art piece Crèche vivante in 2012, which was produced and presented by the Fondation Cartier pour l’Art Contemporain. Her costumes and sets are frequently exhibited in contemporary art circles: Blutbad Parade, Resurrection Plot, and Grotta Profunda Approfondita at the 2017 Venice Biennale. She has also been supporting Pol Pi’s work since Alexandre-2019, as an artistic partner for the pieces Me too Galatée and daté.e.s, designing the costumes and sets. She also works on creating costumes for the choreographers Heddy Maalem, Aurélien Richard, Fabrice Lambert, Christophe Bergon, Yuval Rozman, Aude Lachaise, Sylvain Huc, Vincent Thomasset, Emilie Labédan, Robyn Orlin, Julie Desprairies, James Carlès and Aragorn Boulanger.
She co-authored Le Sucre du Printemps with Marion Muzac, which was choreographed with 27 young people from the urban dance world, and created four versions of the project in Toulouse (2009), Düsseldorf (2010), the Paris area (2013), and Ramallah (2013).

Rima Ben-Brahim started out studying photography in Montpellier, ending with an intensive during the Montpellier Danse festival where she discovered a passion for the performing arts. Tor two years after that she studied circus arts (École National du Cirque Etaix et Fratellini), and classical dance and singing at Schola Cantorum de Paris. In 2007 she obtained a degree in electricity, then taught herself lighting. She works in various cultural venues and theaters in Paris such as the Théâtre de la Bastille et la Briqueterie, and has been the technical director for shows at several dance and theater companies.

In particular, she works with Antonia Baehr and Valérie Castan (Des Miss et des mystères, Rire, My Dog, etc.), Eszter Salamon (Monument 0.1 et 0.2), Saydou Boro (le Cri de la chair), and Hélène Maton (100 ans dans les champs). She met lighting designers Sylvie Garot and Marie-Hélène Pinon, who provide her support and hire her to manage lights on some shows. Most recently she designed the lighting for Bombyx Mori, Dance Concert by Ola Maciejewska; Weaver Quintet by Alexandre Roccoli; Love & Revenge and Strange Land by La Mirza and Rayess Bek; Des Miss et des Mystères by Valérie Catsan and Antonia Baehr Milibar; une ritournelle chorégraphique by Geisha fontaine and Pierre Cottreau; Moi, Daouda Keita, dance and choreography by Daouda Keita; Without you I’m nothing, a performance piece by William Wheeler; (H)ush AND (S)ilence, an improv project by Les Décisifs/Clara Cornil; Kotéba by Seydou Boro; and Daté.e.s by Pol Pi.

Yuval Rozman moved to France in 2013 after studying at the National Conservatory in Tel-Aviv. Here, he’s had the opportunity to present his work as playwright/director at festivals including actOral, Next, Cabaret de Curiosité, Tandem, and Artdanthé at Théâtre du Nord. As a playwright and director, he created Sous un ciel bleu et des nuages blancs, Cabaret Voltaire, TBM (Artcena award in 2018) and Sécurité. His latest play, The Jewish Hour, which he wrote and directed, premiered in 2020 at the Phénix and won the Beaumarchais SACD grant and the jury’s award at the 12th edition of the Festival Impatience in 2021. He also worked with Laetitia Dosch on writing and directing her creations Un Album, HATE, and Radio Arbres. In 2020 Rozman created his own company, Inta Loulou. He is currently working on his next play, Adesh, which will be the last installment of la Trilogie de ma terre (following TBM and The Jewish Hour). Adesh received support from the Institut Français as part of a “Customized Residence.”

Born in Tel Aviv in 1965, Tamar Shelef graduated from the Rambert School of Ballet and Contemporary Dance in London in 1984. She then worked with the Bat Dor company in Tel Aviv until 1987 when she joined the Grand Théâtre in Geneva, where she was a dancer for five years. In 1992 she moved to Paris and joined the Preljocaj company for three years. Since then she has worked with the choreographers Joël Borges, Christian Rizzo, David Wampach, Alain Buffard, Antonia Baehr, Fanny de Chaillé, Ido Feder, Hélène Iratchet, and Mylène Benoit and the visual artist Iris Sara Schiller.

Julien Ferranti was born in Brazil in 1990 and grew up in Nice, where he started dancing in 2002 at the Classi Jazz school. In 2005 he entered the Conservatoire régional de Nice before moving to the Conservatoire National Supérieur de Musique et de Danse in Paris in 2006. He studied various techniques for five years (including Cunningham, Feldenkrais, contemporary, and classical) with professors such as Cheryl Therrien, Susan Alexander, André Lafonta, Florence Vitrac, Isabelle Riddez, Sergei Soloviev, and Peter Goss, and worked with choreographers Thomas Lebrun, Yuval Pick, and Melanie Lomoff if des ballets C de la B. A few months after getting his degree in 2011, he started dancing with the DCA Philippe Decouflé company on international tours (Korea, Japan, Brazil, Russia, Germany, United Kingdom, Greece, Italy, Spain, Austria, Belgium, etc.) in the following shows, from 2012 until today: PANORAMA, BEAUX ARTS, CONTACT, COURTE POINTE, NOUVELLES PIECES COURTES, and TOUT DOIT DISPARAITRE. He has occasionally led workshops at the Conservatoire National Supérieur de Musique et de Danse in Paris and danced in and helped film clips by Mathilde Fernandez and Nosfell.

At the same time, he taught himself to sing and sang for Philippe Decouflé’s Animaux vivants and in Stephanie Thiersch’s 2019 creation, which he also danced in. In that show, called Bilderschlachten (battle of images), he sang a solo as countertenor in Brigitta Muntendorf’s composition for orchestra, Les Siècles. Stephanie Thiersch then asked him to do some musical research in Greece and some translation for a project in August 2020.

Writing and Choreography:  Hélène Iratchet
Scenography and costumes: Rachel Garcia
Light creation: Rima Ben Brahim
Interpretation: Hélène Iratchet, Tamar Shelef, Julien Ferranti
Writing advice: Yuval Rozman

Les SUBS – lieu vivant d’expériences artistiques, Lyon et l’association Richard

Coproductions & residencies – in progress:
Le KLAP Maison pour la danse, Marseille, Le Centre Chorégraphique National de Rillieux-la-Pape, CCN2 – Centre de Développement Chorégraphique National de Grenoble, Charleroi danse, La Maison de la Danse, Lyon, La Comédie de Saint-Etienne, La Maison de la Danse, Lyon, La Comédie de Saint-Etienne, La Place de la Danse, centre de développement chorégraphique national, Toulouse-Occitanie, Le Théâtre du Parc, Andrézieux-Bouthéon

Creation February 2023 at the SUBS, as part of the Sens Dessus Dessous Festival – Maison de la danse