Company

Founded in 2008 by Jive Faury and Kim Huynh, the company Sens Dessus Dessous works in contemporary circus, at the crossroads of choreographic juggling, object manipulation, visual circus and digital arts.

Since 2009, the company has been exploring artistic forms around the manipulation of objects and the choreographic circus.

The founding show Linea , a piece for two juggler-dancers and 100 m of rope created in 2011, has been performed more than 270 times in France and in around thirty countries across continents (with the support of the Institut Français au Brazil, Colombia, China, Japan, Algeria and 19 African countries, tour in the USA ...).

With the creation in 2015 of (Dis) -cordes , a piece for 7 Circassian artists and 999 m of rope, research around the rope object grew,  using it as a prop, aerial apparatus and an element of scenography.

After working with groups Jive Faury, turned to the more intimate forms : Duet. Rich in experience of multiplicity with (Dis) -cordes , he calls upon the possibilities of video mapping for La Mélodie d'ici et là.

Since this latest creation, digital arts and more specifically video mapping have become a new language of creation that the company uses for various projects combining it with live and choreographic performances (projection mapping on buildings, video art installations).

The Cie Sens Dessus Dessous will participate in April 2022 in the International Festival of Video Mapping in Lille with the "ODE" project.

Historical

 

The Compagnie Sens Dessus Dessous is a contemporary circus company created in 2008 by Kim Huynh and Jive Faury, following their meeting in 2006 within the Cie Jérôme Thomas for the preparation of the first juggled ballet Rain / Bow .

 

They have thus pooled their experiences in various companies including Cie Jérôme Thomas, The Apostrophés, G. Bistaki Jive Faury; Jérôme Thomas, Gandini Juggling and Cie 14.20 for Kim Huynh, and create shorts pieces juggled with balls, clubs and sticks.

 

In their pieces, they merge their juggling practices and highlight the work on the theatricality of movement and the manipulation of objects.

Impregnated with their professional careers and their encounters with choreographic artists, circus artists, musicians and visual artists, they have developed a graphic language focusing their research on choreographic juggling, dance and the manipulation of objects.

 

Far from chained numbers and the search for exceptional prowess, the sought-after poetic act is at the crossroads of disciplines and gives an important place to a theatricality of movement to move towards visual pieces of "choreographic circus".