THE COMPANY
© Davide Picci, Trois CL
Founded by Marion Alzieu, Compagnie Ma’ is based in Chambéry (France). It develops a choreographic inquiry that explores how encounters between different physical practices, cultures, and experiences can transform choreographic creation.
Marion’s pieces originate in dialogue: dialogue between bodies, between individuals, and between imaginative worlds and movement languages. Rather than seeking hybridisation as an aesthetic goal, her approach considers it a living process, where each encounter becomes an opportunity to disrupt habits, challenge creative methods, and bring forth new forms of composition.
Her works, created for both the stage and public or site-specific spaces, interrogate human relationships, collective dynamics, and our place in a constantly changing world. Through a physical, sensitive, and rigorous dance, they explore notions of trust, engagement, resistance, and transformation.
This research extends into significant work in arts transmission and community engagement, conceived as creative spaces in their own right. The company develops projects with diverse groups (incarcerated individuals, care home residents, middle and high school students, women’s groups, and people with disabilities), approaching every encounter as an artistic and human experience.
Compagnie Ma’ has presented its creations across France, Europe, and West Africa. From 2021 to 2023, Marion Alzieu was associate artist at Le Dôme Théâtre in Albertville.
The company is currently supported by the Département de la Savoie and the City of Chambéry.
© Cléa Mbaki
© Cléa Mbaki
Born in the Pyrénées-Atlantiques region of France, Marion Alzieu discovered dance at a young age, and it quickly became her primary mode of expression.
After training at the Centre James Carlès in Toulouse and then with the Coline professional training program in Istres, she began her career as a performer, working with choreographers known for their distinct physical languages, including Emmanuel Gat, Jasmin Vardimon, Salia Sanou, Hervé Chaussard, Chiara Taviani, Serge Aimé Coulibaly, and Amala Dianor. These collaborations, often developed in international contexts, deeply shaped her approach to choreographic creation and the dialogue between different artistic practices.
In 2014, she founded Compagnie MA and created her first solo, Ceci n’est pas une femme blanche. Toured for nearly nine years across France, Europe, the Middle East, and West Africa, the piece received several awards at international competitions and marked the beginning of a choreographic research centered on dialogue between bodies, cultures, and imaginative worlds.
In 2018, she was invited to choreograph the opening parade for the Biennale de la danse de Lyon for the City of Villeurbanne, alongside Burkinabé choreographer Sigue Sayouba. The following year, she created W, a duet with French-Burkinabé musician Michael Avron, with whom she has developed an ongoing artistic collaboration since 2012.
In 2020, she obtained her French State Diploma as a contemporary dance teacher. Since then, arts transmission has occupied an essential role in her practice, which she develops both within professional training programs and through artistic and community projects with diverse audiences.
As associate artist at Le Dôme Théâtre in Albertville from 2021 to 2023, she created Si c’est une fille (2022) and expanded her research into new performance contexts with UNE, designed for museum spaces, and AlttaÏ, conceived for mountain landscapes.
In 2024, she created Hold Fast, a piece that deepened her dialogue with KRUMP, a practice that has fed her work for several years. Through this creation, followed by Mighty Pact, she asserts an approach that explores how a choreographic language can remain alive by allowing itself to be transformed by encounters with other physical practices.
Today, Marion continues a choreographic inquiry that interrogates how encounters between different movement practices can transform artistic composition. Her work unfolds through creation, transmission, and international collaborations, driven by a constant desire to make choreography a space for dialogue, shift, and renewal.
© Jean-Pierre Fournier
My choreographic practice was born out of encounter.
Throughout my journey as a dancer and choreographer, the people, practices, and cultures I have encountered have most profoundly transformed the way I create. Working internationally and collaborating with artists from different physical languages or imaginative worlds has never been an end in itself; it has become the driving force behind my research.
I am interested in what happens when a choreographic language accepts not remaining fixed. How can a voice preserve its singular identity while allowing itself to be shifted, questioned, and transformed through encounters with other embodied practices? This question now runs through the whole of my work.
I am not looking for hybridisation as an aesthetic outcome. What interests me is the process that precedes it: listening, negotiation, resistance, shifts—the moments when bodies carrying different histories, techniques, and sensibilities invent a common ground without relinquishing what defines them.
My creations originate in these spaces of dialogue. Each project becomes a laboratory where I intentionally choose to disrupt my habits: a new collaboration, a different context, an unexpected medium, a distinct cultural influence. These constraints feed my composition and compel me to keep my language moving.
For me, choreographic composition is a balance between tensions. I enjoy building physical landscapes where power and fragility, precision and surrender, explosive energy and subtle listening coexist. Movement becomes a sensitive material capable of bringing forth images, relationships, and states rather than illustrating a discourse.
The questions that thread through my creations are deeply contemporary. They interrogate our capacity to stay connected in a constantly changing world, to preserve our singularity while building shared ground, and to fully inhabit our bodies in an era where everything seems to accelerate. The place of women, forms of engagement, collective dynamics, and the notions of pact, resistance, and trust constitute recurring threads in my research.
I view choreography as a living space. Not as a language to be transmitted unchanged, but as a language that one agrees to put at risk so that it may continue to evolve.
In an age where exchanges are increasingly dematerialised, I believe the body remains an essential place of knowledge, memory, and connection. Dancing, creating, and sharing this experience is a way to reaffirm the power of the living and of our presence in the world.
Association / President
Karine Rico-Perez
Association / Treasurer
Claudia Pereira-Rodrigues
Choreographer / Contemporary Dancer
Marion Alzieu
Administrative / Production Manager
Marion Chevalier
Production / Development Manager
Léa Turner, Alice Bessou
Composer / Musician
Michael Avron
Dramaturg
Nathalie Veuillet
Singer / Actress
KRUMP Dancer
Mickaël Florestan
Contemporary Dancer / Costume designer
Jean Robert Kiki Koudogbo
KRUMP Dancer
Léonie Mbaki Mabolia
Contemporary Dancer
Guilia Cenni
KRUMP Dancer
Keyran Aplogan
Graffiti Artist / Illustrator
Abys2fly
Stage Manager / Light Technician
Rodolphe Martin
Sound Designer
Clément Roussillat
Touring Stage Manager
Maël Thoni
Photographer
Cléa Mbaki