La Mue/tte is a Franco-Argentinean company born in 2014 following the meeting of a Nancy-born actress-puppeteer and an Argentine musician-puppeteer, both passionate about the question of movement, its transmission and its repercussion (sound, images, handlings).
Delphine Bardot and Santiago Moreno join forces with the project to develop a research around visual and musical theater, to engage the body and the puppet to the extent that they have sound and rhythm, and music in that of physics, through a certain poetic mechanics of movement.
La Mue/tte pursues its artistic project in order to continue the development, always speachless, of a specific language, at the crossroads of visual poetry and hybrid musical writing. Thanks to Santiago Moreno, the figure of “the man-orchestra” is constructed each season in a more subtle, sophisticated, and meaningful way. And it extends in a wider way in search of the company around the relationship body / objects brought by Delphine Bardot. To widen our horizons of research, we wish to explore in the coming years a strong axis, both technical and thematic: the figure of “woman-castelet”.
The company La Mue/tte is supported by the Grand Est Regional Authority for the period 2019-2021.
Actress, puppeteer, visual artist and stage director, she has explored puppetry in all its facets with several companies in Lorraine (Les Clandestines Ficelles, L’Escabelle, Les Fruits du Hasard, Via Verde, Hold up and Pézize, among others).
She worked for 10 years with La S.O.U.P.E. Cie, during which time she developed a personal body of work around the relationship between body and object (Vanité, Sous le Jupon and Body Building).
She began her exploration of the specific expression of contemporary puppetry, in forms such as puppet theatre, segmentation and metamorphosis; somewhere between the illusion of the living and a mirage.
She gradually left aside text to focus on the relationship between sound and image, or the musicality of movement, and ventured towards a whimsical form of writing, tinted with poetical violence.
All these aspects have now become the foundations of the artistic world of La Mue/tte.
Born in Argentina, this musician and puppeteer currently lives in France. He is the co-founder of the Italian-Argentinian band Aparecidos, and the puppet theatre company Dromosofista, with the show El Cubo Libre (which toured the international street theatre festival circuit). He has worked with several companies in eastern France (La S.O.U.P.E. Cie and Cie Blah Blah Blah).
As a member of the company La Mue/tte, he pursues his work around the one-man-band and the dissociation of the musician, in keeping with the principles of puppetry, from intimate shows to thundering street concerts.
Les Intimités de l’Homme-Orchestre and L’Homme-Orchestre, since their creation in 2014 until the end of the year 2019, will have already played 312 performances in France and abroad (Belgium, Netherlands, Switzerland, Germany, Italy, Spain, Portugal, Romania, Estonia, Luxembourg, Barhein, USA …).
Alongside his research and personal creations, Santiago Moreno also plays with an international one-man-band trio, OKtopus OrKestars, in collaboration with Martin Kaspar (The Hangman) and Karl Stets.
Construction and Costumes
After studying fashion and working for a brief time in the production of luxury goods, including a period spent with Chanel, in 1996 Daniel Trento decided to move into costume production for use in live performances. Having trained at the Opéra du Rhin, he began working in Lorraine with the companies TMM Cie Jean Poirson, La Balestra and Les Crieurs de Nuits. In 1997 he started working with the Théâtre du Centaure in Luxembourg.
In his role as a plastic artist, he also collaborated with set designers such as Jacques Griesemer (Pierre de Culture) and was responsible for building the sets designed by Daniel Jassogne for the Théâtre des Capucins in Luxembourg. He also worked with Jeanny Kratochwil. After graduating with a higher national diploma in theatre techniques and art (ENSATT Lyon), he continued his mentorship with the S.O.U.P.E, Les Bestioles, Deracinemoa and Les Fruits du Hasard.
2015 saw a new collaboration with Delphine Bardot, co-writing and composing the scenography for L’Un Dans L’Autre, performed by La Mue/tte, as well as Les Folles in 2017, which gave him the opportunity to further develop the notion of castle costumes/bodies.
With a Baccalaureate in science, a Master’s degree in Political Science and another in Cultural Engineering under her belt, Claire has been working for more than 10 years now to support, produce and distribute theatre companies with a renewed sense of enthusiasm.
As the years have gone by, the collaborative projects Claire has been involved in have seen her move towards Puppetry Arts, both in France (La Mue/tte, La Bande Passante) and abroad (Blah Blah Production), in addition to regional projects (Blah Blah Blah) or performances where the goal is to form a closer connection with audiences through the way in which they are staged (La Valise, La Soeur de Shakespeare).
Claire was treasurer of THEMAA – the Association Nationale des Théâtres de marionnettes et Arts Associés (the National Association of Puppet Theatres and Associated Arts) – a role in which she devised a support system for young administrative staff. She gives production classes at vocational degree level at the Metz faculty of the University of Lorraine.
Phil Colin began his career in the performing arts as general technician for the Centre Culturel André-Malraux, Scène Nationale de Vandoeuvre-lès-Nancy, from 1998 to 2011. He completed his training in 2005 with a year of stage management at the ISTS Avignon [higher school for stage technicians].
Having graduated with a degree in accounting, Aurélie has been working with theatre companies for more than 10 years as either a production or administrative manager. Following a period of nine years spent working with the company La Valise, she joined the team Blah Blah Blah, La Mue/tte and La Bande Passante, all based in Lorraine.
Head of Communication
Following a period of ten years spent working as a production and distribution manager in contemporary dance before switching exclusively to puppetry and associated arts (Scopitone et Cie, La Générale Électrique, Roi Zizo, Collectif Label Brut), Sandrine undertook training in web, DTP and editorial techniques. Her work has focused more specifically on communication media and tools used in the distribution of art projects. In 2018, she joined two companies based in Lorraine, La Bande Passante and La Mue/tte, and pursued her work in communication with the Roi Zizo company based in Morbihan.