Following on from En attendant le grand soir, Pierre-Jean Bréaud and his compelling acrobatic and choreographic company take over urban squares with a large-scale contemporary circus epic. Through lifts, movement and mass effects that push the limits of space, vertigo and imbalance, this “poetic tribe” — made up of eight acrobatic dancers, a clown, an actress and a sound designer — draws us into a magnificent collective tale where grand narratives meet intimate stories, in the exaltation and magic of a true communal ritual.
Following on from En attendant le grand soir, Pierre-Jean Bréaud and his compelling acrobatic and choreographic company take over urban squares with a large-scale contemporary circus epic. Through lifts, movement and mass effects that push the limits of space, vertigo and imbalance, this “poetic tribe” — made up of eight acrobatic dancers, a clown, an actress and a sound designer — draws us into a magnificent collective tale where grand narratives meet intimate stories, in the exaltation and magic of a true communal ritual.
BIOGRAPHY
> COMPAGNIE LE DOUX SUPPLICE / PIERRE-JEAN BRÉAUD (FR)
After studying water management, Pierre-Jean Bréaud enrolled at the circus school in Chambéry in 1998, where he encountered dance. In 2001, he created a duo and the company Tête à Tête with Corinne Amic, then joined Compagnie Les Passagers, followed by 36 du mois–Cirque 360, and created Le Cubitus du Manchot (2006, with Fitou Jebejian and Cécile Berthomier), then Collectif La Basse-Cour in Nîmes for Le Ballet Manchot (2011). In 2013, he was artistic director of the creation Le (doux) Supplice de la Planche, which, with Camille Rault-Verprey, became a company in 2018. Combining acrobatics, dance, music and improvisation, the company went on to create En attendant le grand soir (2019), La concordance des temps (2022) and Les petites épopées (2026). Alongside this work, Pierre-Jean Bréaud helped establish le labo, a pre-professional training programme at the circus school in Alès (2014), later became associate artist of the Pôle National Cirque Occitanie La Verrerie in Alès, joined Compagnie XY, and took part in the creation of the baroque opera Ballet Royal de la Nuit (2017).
DISTRIBUTION
Pierre-Jean Bréaud (author, director, artistic director), Camille Rault-Verprey (production manager), Julie Lefebvre (assistant director), Toma Roche (dramaturgy assistant), Paolo Crocco (Commedia dell’arte expert), Frédéric Escurat, Tom Gaubig, Eliot Gilbert, Pierre-Jean Bréaud, Marion Hergas, Marta Munoz, Maria Paz Marciano, Diogo Faria Dos Santos, Boris Arquier and Charlotte Marquardt (performers), Jack Mc Weeny (sound designer), Fabien Gougeon (stage manager), Célia Djoudi (production assistant), Aurélia Delescluse (administration), Aléthéia Audiovisuel (video), Sarah Cagnat (graphic design), executive production (Le doux supplice).
PRODUCTION
Co-productions, Residencies, and Support
L’Estive – National Stage of Foix and Ariège (09), Le Cratère – National Stage of Alès (30), Le Plongeoir – National Circus Center Le Mans, Sarthe Pays de la Loire (72), La Verrerie d’Alès – National Circus Center Occitanie (30), L’Abattoir, Chalon dans la Rue – CNAREP – Chalon-sur-Saône (71), Résurgences – Lodève (34), Le Sonambule – Gignac (34), Les Tombées de la Nuit – Rennes (35), Eclats de rue – City of Caen (14), Le Fourneau – CNAREP – Brest (29), Le Théâtre – National Stage of Mâcon – Mâcon (71), La Strada Graz – Graz (AT)
Institutional Support
DGCA, DRAC Occitanie, Occitanie Region, Department of Gard, the city of Nîmes, ADAMI and culture with private copying.
