Born in Rennes, François Chaignaud studied dance from the age of six. He earned a diploma in 2003 from the Conservatoire National Supérieur de Danse de Paris, he collaborates soon after with several choreographers, such as Boris Charmatz, Emmanuelle Huynh, Alain Buffard, and Gilles Jobin.From He’s One that Goes to Sea for Nothing but to Make him sick (2004) to Думи мої - Dumy Moyi (2013), he has created performances in which dance and singing intersect, in a wide variety of environments and at the meeting points of many inspirations. From this tension, the possibility of a body takes shape, inhabiting the space between the sensual rigour of movement, the evocative power of singing, and the convergence of heterogeneous historical references - from erotic literature to sacred art. Also a historian, François Chaignaud publishes “L’Affaire Berger-Levrault: le féminisme à l’épreuve” (1898-1905) with PUR. His curiosity for history has driven him to initiate various collaborations, notably with legendary drag queen Rumi Missabu of the Cockettes, cabaret performer Jérôme Marin (Sous l’ombrelle, 2011), artist Marie-Caroline Hominal (Duchesses, 2009), fashion designers Romain Brau and Charlie Le Mindu, visual artist Théo Mercier (Radio Vinci Park, 2016), photographer Donatien Veismann and videast Cesar Vayssié. In collaboration with artist Nino Laisné, he has created a piece entitled Romances inciertos: un autre Orlando, bringing together four instrumentalists around various ambiguous motifs of genre from the choreographic and vocal Iberian repertoire. The piece has been shown as part of the 2018 programme of the festival d’Avignon. In 2018 François Chaignaud also choreographed Soufflette, a piece for the Carte Blanche Ballet (Norway) in collaboration with Romain Brau premiered in May in Studio Bergen. He is currently doing research on the Antique Christian song repertoire as well as Hildegard Von Bingen pieces in collaboration with Marie-Pierre Brébant in prevision for his next creation Symphonia Harmoniæ Cælesitum Revelationum to be premiered in May 2019.

Since her musical and ballet studies (Reims), and her early music studies in Boulogne-Billancourt’s Conservatoire National de Région (two degrees in harpsichord and basso-continuo in 1995), Marie-Pierre Brébant’s practice of Renaissance and Baroque repertoire has taken many forms: as a dancer (particularly with Béatrice Massin from 1997 to 2001), as a musician (harpsichord and organ) as part of orchestral and chamber music ensembles, as a ballet classes accompanist (Centre National de la Danse) and as musical director for the baroque ensemble Sept Mesures de soie until 2012. At the same time, her particular interest for music as a single artistic form beyond entertainment or background music led her to perform in shows directed by artists such as Richard Foreman (Don Giovanni, Mozart), François Hiffler and Pascale Murtin (cie Grand Magasin),  since 2005 Sophie Perez and Xavier Boussiron (amplified spinet in Laisse les gondoles à Venise; castanets in El coup du cric Andalou; Wurlitzer and piano in Gombroviczshow; celtic harp and clavichord in Oncle Gourdin; Nord stage keyboard in Prélude à l’agonie) or in Radio Vinci Park (2016) directed by Théo Mercier with François Chaignaud, in which she’s playing the harpsichord. She currently is doing research on the Antique Christian song repertoire as well as Hildegard Von Bingen pieces in collaboration with François Chaignaud in prevision for their next creation Symphonia Harmoniæ Cælesitum Revelationum to be premiered in May 2019.