Galerie Cie La Vicomtesse En

Marie Grommier is a dancer, actress and sociologist. Passionate about the performing arts, she was trained in contemporary dance by Julia Moignard in Bordeaux and then at the Conservatoire Niedermeyer à Rayonnement Départemental in Issy-les-Moulineaux (92) in contemporary dance. She enriched her career by participating in workshops in Montpellier, Bordeaux, Paris, Birminghmam (UK) as well as at the ferme du Béon (CAC) in Soucy (87).

The dancer benefits from the teachings of the Cie Chatha, Joëlle Bouvier and Alfred Alerte; she is initiated to baroque dance with the Cie Fêtes Galantes Florence Masson. The artist participates in the great dance lessons of Pierre Rigal, Kader Attou and Anna Teresa de Keersmaekers in Montpellier Danse. The dancer trains at the Cie Evi Danse in Bordeaux and at the Centre de danse du Marais. In the theater, it is at the Cours Florent and at the Ecole Jean Périmony that the actress learns. Passionate about knowledge, the young woman travels between Art and Human Sciences, she follows courses in « Conception and Implementation of Cultural Project » and in ethnology in Paris. 

In 2003, Marie continued her research work by undertaking a thesis on the concept of recognition. Marie Grommier sets up the « Africana – Rencontres Franco-Africaines » festival in Asnières-sur-Seine (92). His Excellency Philippe Sawadogo, ambassador of Burkina-Faso in France, agrees to sponsor the event. At the closing of the festival, at the Armande Béjart theater, she performs during the performance of the group Toubs Bebey. The same year, her group from Paris VII « Groupamba » performed in Ile-de-France, during university festivals, – as a soloist, she danced as part of a grouping of artists managed by the Maison des Associations of Issy-Les-MLX. We note here,  » Les Premières Rencontre Associative et Vous « . For the final of this event, the Palais des Congrès, program the show Didot mounted by Lydia Maric, inspired by the best seller  » Le journal d’une célibataire « . Lydia solicits Marie, to create and perform the solo Sex machine no! on the music of James Brown and a collective choreography Duel combining Flamenco and contemporary dance.

In 2012, the association « Fus’art » invited her to Morocco in partnership with the Alliance Française de Kénitra to work in the framework of an artist residency – Marie sought inspiration to create a short piece for two dancers on the theme of violence against women. The restitution of this work was presented to the public at the end of the residency. Upon her return from Kénitra, her objective is to reconcile creation and teaching. She joined a therapeutic and pedagogical institute as a specialized teacher, which allowed her to broaden her knowledge in contact with a new public. She uses dance and theater and observes that children with behavioral problems are happy to practice these disciplines.
Wishing to move towards teaching dance, she develops her skills and trains from 2016 to 2019 at the Cefedem of Bordeaux and Metz, then at the Esal of Lorraine.

Her approach

I mainly dance contemporary pieces. Passionate about live performances, I am a fan of theaters and go to them regularly. I am a fan of choreographers like Jiri Kylian, Nacho Duato, Ohad Naharin, Alain Buffard, Decoufflé.

In 2014, I was in residence with  » Danse en partage  » organized by the Cie Hors série in Bordeaux and I evolved under the direction of the choreographers of the Cie Auguste-Bienvenue. However, inspired by Carolyn Carlson, I like solos – I approach social or personal themes such as addiction, recognition, the couple. My work does not start from movement but rather from a problem that I develop as a story. The movement comes from the written story and from this story the dance movement is born. In what I build in dance, the use of objects is frequent. I like to dialogue and/or symbolize my questions with everyday objects such as chairs, ladders, fruit, benches, Roman scales, and baby parks.

Concerning the relationship with the music, I favor the duet with a musician who will create the music based on what he sees and feels. By mirror effect, I cross his music according to my subject to find if it corresponds to what I want to express. The use of video or of different current music are ways to build a piece that interest me. In my way of editing the pieces, my intimacy with the theater has a great influence. It is always a question of moving forward to broaden my fields of knowledge. In terms of projects, the creation of a new solo and the development of my company by creating bridges with teaching and social sciences are in progress. The objective: to make sure that everyone can dare to create, through dance, their own universe. To open up possibilities and doors so that dance is intergenerational and that dancers over forty continue to have their place on stage.