Production, distribution,
& administration
for performing arts


Fabrik Cassiopée currently collaborates with Jonathan Capdevielle / Poppydog (since 2009), Mickaël Phelippeau / bi-p (since 2013), Marcela Santander Corvalán / Mano Azul (since September 2016), Jonathan Drillet & Marlène Saldana / The UPSBD (since January 2022) and Hortense Belhôte for administration, production and distribution. Hortense Belhôte's projects are carried out as delegated productions.

We have chosen to work with a limited number of artists, in order to be able to support the singularity of their approach as closely as possible, to develop their activities as well as possible and to deploy a relevant and targeted implementation according to the nature of the projects.



Jonathan Capdevielle was born in 1976 in Tarbes and lives in Paris.
Trained at the École supérieure Nationale des arts de la marionnette, Jonathan Capdevielle is a director, actor, puppeteer, ventriloquist, dancer and singer.

He has participated in several creations, including, among others: Personnage à réactiver, by Pierre Joseph (1994), Performance, with Claude Wampler (1999), Mickey la Torche, by Natacha de Pontcharra, translated by Taoufik Jebali, directed by Lotfi Achour, Tunis, (2000), Les Parieurs and Blonde Unfuckingbelievable Blond, directed by Marielle Pinsard (2002), Le Golem, directed by David Girondin Moab (2004), Le groupe St Augustin, Le Dispariteur, Monsieur Villovitch, Hamlet et Marseille Massacre (radio creation workshop – France Culture), directed by Yves-Noël Genod (2004-2010), Bodies in the cellar, directed by Vincent Thomasset (March 2013)
As f Gisèle Vienne’s collaborator since her first productions, he has performed in almost all her plays between 2000 and 2015; in those directed by Étienne Bideau Rey and Gisèle Vienne: Jean Genet’s Splendid’s, Showroomdummies and Stereotypy, and in those directed by Gisèle Vienne I ApologizeUne belle enfant blonde / A young, beautiful blonde girlKindertotenliederJerk, radio play, Jerk, solo for a puppeteer, Éternelle idole, This is how you will disappear and The Ventriloquists Convention.

Jonathan Capdevielle also works as a performer in films, notably with Patric Chiha (Boys like us in 2014) and Safia Benahim (Le sang noir in 2018). In 2021, he acted in the film adaptation of Jerk by Gisèle Vienne, which was screened in numerous festivals. He regularly collaborates with director Sebastien Betbeder: in Ulysse et Mona in 2018, Jusqu’à l’os in 2019; and Tout fout le camp in 2022.

In 2007, he created the performance-singing tour Jonathan Covering at the Tanz im august Festival in Berlin, the starting point for his piece Adishatz/Adieu, created in January 2010 at the C’est de la Danse Contemporaine festival of the Centre de Développement Chorégraphique Toulouse / Midi Pyrénées. He then responded to two invitations. In November 2011, he presented Poppydog, created in collaboration with Marlène Saldana at the Centre National de la Danse – Pantin and in August 2012, on a proposal from the festival far° – festival des arts vivants de Nyon (Switzerland), he presented Spring Rolle, an in situ project with Jean-Luc Verna and Marlène Saldana.

With Saga (created in February 2015 at the Parvis Scène nationale de Tarbes), Jonathan Capdevielle opens a new chapter in autobiographical narrative by working on episodes of the family novel, with its emblematic characters and its twists and turns. An exploration of the boundaries between fiction and reality, between present and past. In November 2017, he signed À nous deux maintenant, an adaptation of the novel Un Crime by Georges Bernanos. In 2019, he proposes Rémi, a play for all audiences from 8 years old, adapted from the novel Sans famille by Hector Malot. These two projects were created at the Quai, CDN d’Angers and then presented at Nanterre Amandiers CDN as part of the Festival d’Automne à Paris. In September 2021 he created Music All, co-written with Marco Berrettini and Jérôme Marin, presented in Switzerland, notably at the Arsenic Lausanne, then on tour in France, starting with the T2G CDN in Gennevilliers as part of the Festival d’Automne in Paris. He is currently preparing his next creation, a staging of Albert Camus’ play Caligula, scheduled for September 2023 at the T2G CDN in Gennevilliers.

All of these projects have common themes that evolve over the course of the creations. In particular, the construction of identity, diaries and the family through traditional culture and popular song, imposture as a form of devastating power, the confusion of genres and the distortions of the established moral order. Moreover, as director and author of each of his creations (original work or adaptation), Jonathan Capdevielle attaches great importance to the diversity of narrative material, which is achieved through the adaptation of literary works as well as through stage writing and improvisation. Sound work also plays an important role in his work. This is reflected in the sound of the voices and the spatialized diffusion of sounds and music. Thus each project is part of a research and writing of sound: the sound thought as a creator of spaces, off-fields, climates.

Since 2021, Jonathan Capdevielle has been an associate artist at the T2G – Théâtre de Gennevilliers and a member of the Ensemble Associé at the Théâtre des 13 vents, centre dramatique national de Montpellier.




Sinistre & Festive : TAP Poitiers, Festival A corps

14.05.2024 - 16.05.2024

Caligula :Théâtre du Nord, CDN Lille Tourcoing Hauts de France


23.05.2024 - 24.05.2024

Caligula : Comédie de Béthune, CDN


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After studying visual arts and performing with several different dance companies, Mickaël Phelippeau joined the ex.e.r.ce training program at the Centre Chorégraphique National de Montpellier.

He then worked with, among others, Mathilde Monnier, Alain Buffard and Daniel Larrieu.

From 2001 to 2008, he and four other artists were part of the Clubdes5, a collective project built around a permanent laboratory and collective creation.

He has been working on his own choreographic projects since 1999. At the same time he has developed a multi-faceted, customisable approach to creation, using different fields and media in different and specific contexts.

Since 2003, he has focused his research on the bi-portrait, a subterfuge he devised for encountering someone. In 2008, on the principle of cross portrait, he creates two choreagraphic pieces dealing with otherness : bi-portrait Jean-Yves and bi-portrait Yves C., the first with a parish priest, the second with the choreographer of a traditional Breton dance school. In 2010, he creates Round Round Round (film dealing with a fair in a village without any fair nor village) ; in 2011, Numéro d'objet, a quatuor of women, who have been dancers since the 80's, for whom the matter of carreer and generation is a major issue, and Yellow Project; in 2012 Sueños (written and performed with the singer Elli Medeiros) and Chorus (piece for 24 choir members) ; in 2013 enjoy the silence (written and performed with the writer Celia Houdart) ; in 2014, Pour Ethan (solo for the teenager Ethan Cabon) and Set-Up (project for 4 dancers, 4 musicians and a light designer) ; in 2015 Llámame Lola (solo for the dancer Lola Rubio) and Avec Anastasia (solo for the teenager Anastasia Moussier) ; in 2016 Membre fantôme with the sonneur Erwan Keravec ; in 2017 Footballeuses (with ten women practicing football), Mit Daudi (with Daudi Simba, a command from Freiburg Theater) and Soli (with the tenor Renaud Mascret); in 2018, Ben & Luc (duet for two dancers from Burkina Faso) and Lou (solo for the dancer Lou Cantor). His last performance, Juste Heddy has been created at Le Merlan, scène nationale de Marseille in march 2019.

He also carries out parallel projects as exhibitions or the Portraits Fantômes, during which he spends time in inhabitant's appartments in their absence.

Since 2010, Mickaël Phelippeau has been the artistic director of the festival À DOMICILE in Guissény (Brittany, France). Every year, he invites choreographers to work in residency with the inhabitants of this village.


He was artist in residency at Quartz, scène nationale de Brest from 2011 to 2014 ; at Théâtre Brétigny, scène conventionnée from 2012 to 2016 ; at Théâtre Louis Aragon, scène conventionnée danse de Tremblay-en-France in 2016 ; at L'échangeur - CDCN Hauts-de-France and at Merlan, scène Nationale de Marseille from 2016 to 2018; at Centre chorégraphique national de Caen en Normandie from 2016 to 2019.

bi-p is currently in residency at Espace 1789, scène conventionnée danse de Saint-Ouen, with the support of the Département de la Seine-Saint-Denis. Mickaël Phelippeau is a member of Les Quinconces-L'Espal, Scène Nationale du Mans' Grand Ensemble. Mickaël Phelippeau is one of the accomplice artists of La Filature - Scène nationale de Mulhouse. 

bi-p is supported by DRAC Centre-Val de Loire / Ministère de la Culture, by Région Centre-Val de Loire, and by Institut français for its projects abroad.




Lou : Maison de la musique de Nanterre


Majorettes : Les Quinconces-l’Espal, scène nationale du Mans

23.03.2024 - 24.03.2024

Juste Heddy : Espace Pablo Picasso, la Norville


Lou : Espace Pablo Picasso, la Norville


Yellow Party : La Filature, scène nationale de Mulhouse


Footballeuses : Théâtre Gérard Philippe, Champigny-sur-Marne


Majorettes : Théâtre Auditorium de Poitiers, scène nationale de Poitiers


Majorettes : Pavillon noir, CCN d’Aix-en-Provence


07.06.2024 - 08.06.2024

Portraits Fantômes : Festival Chahuts, Bordeaux - La Manufacture CDCN Bordeaux

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Born in Chile, Marcela Santander Corvalán trained in dance-theater at the Paolo Grassi School of Dramatic Arts in Milan, then in contemporary dance at the Centre national de danse contemporaine (CNDC) in Angers under the direction of Emmanuelle Huynh. She also studied history at Trento University in Italy and dance at Paris 8 University.

Since 2011, she has worked with the choreographers Dominique Brun (Sacre #197 and Sacre #2), Faustin Linyekula (Stronghold), Julie Nioche Nos amours (2017), Ana Rita Teodoro Plateau (2017), Volmir Cordeiro L’œil, la bouche et le reste (2017). She also collaborated with the choreographer Mickaël Phelippeau on the performances Chorus (2012), Set-Up (2014), Kritt (2014), and Footballeuses (2017) and on the artistic direction of the À Domicile festival.

In 2014, she began to work on her own project. She has been an associate artist at Le Quartz Scène national Brest, where she created Epoque with Volmir Cordeiro in 2015, and the solo Disparue in 2016. In 2017, she cosigned MASH with the italian choreographer Annamaria Ajmone. In November 2019 she created Quietos at the Manège, scène nationale de Reims as part of the Born to be alive festival. In 2020, following an invitation from the peniche la POP in Paris, she signed with Hortense Belhote a conference on the theme of listening entitled CONCHA - Histoires d'écoute. Her new piece, Bocas de Oro, has been created at La Manufacture CDCN - Bordeaux on october 6th 2022.

She was associate artist at Le Quartz, scène nationale de Brest from 2014 to 2017. Marcela Santander Corvalán is artist in residency at La Manufacture, CDCN Nouvelle-Aquitaine Bordeaux La Rochelle.


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MARLENE SALDANA works with Sophie Perez & Xavier Boussiron, Boris Charmatz, Christophe Honoré, Marcial Di Fonzo Bo, Ashley Chen, she has also worked with Yves-Noël Genod, Jerôme Bel, Thomas Lebrun, Théo Mercier, Daniel Jeanneteau, Gerard&Kelly, Krystian Lupa, Jeanne Balibar. In 2019 she received the Best Actress Award from the Syndicat de la Critique de Théâtre et de Danse for her role as Jacques Demy in Christophe Honoré's play, Les Idoles. She also plays in his latest play, Le ciel de Nantes.

JONATHAN DRILLET has worked with Raimund Hoghe, Christophe Honoré, Hubert Colas, Sanja Mitrovic, Gerard&Kelly, Julien Prévieux... Today he works as a performer and artistic collaborator with Jonathan Capdevielle, Théo Mercier, and Phia Ménard. 

Thanks to such eclecticism and because, like Friedrich Nietzsche, they know that art is given to us to prevent us from dying of the truth, they founded together in 2008 The United Patriotic Squadrons of Blessed Diana and have since written numerous shows, including Le Prix Kadhafi / DORMIR SOMMEIL PROFOND l'Aube d'une odyssée / Fuyons sous la spirale de l'escalier profond, Le Sacre du Printemps Arabe... Their shows have been presented at the Belluard Festival (Switzerland), the Chez Bushwick Studio and the Park Avenue Armory (New York), the Ménagerie de Verre in Paris, the Centre Pompidou, the TAP in Poitiers, the Scène Nationale in Orléans, the Théâtre de Gennevilliers, the Printemps de Septembre festival in Toulouse, the A Domicile festival in Guissény, the Actoral festival in Marseille, the Centre National de la Danse (Pantin)... 

In 2021 they present 2 new creations: 22 castors front contre front, a ballet for 22 young performers created in collaboration with the choreographers Gaëlle Bourges and Mickael Phellipeau; and Showgirl, a solo which premiered in September 2021 at the Festival La Bâtie in Geneva.

They are currently preparing their next creation, Utsu Mono To Utaruru Mono, a free adaptation of the musical Cats; scheduled for 2024.



26.02.2024 - 09.03.2024

Showgirl : Théâtre de la Bastille, Paris

12.03.2024 - 14.03.2024

Showgirl : CDN Besançon Franche Comté

17.04.2024 - 19.04.2024

Showgirl : Le Quartz, scène nationale de Brest

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Hortense Belhôte is an actress for theater and film and has taught dramatic art in Parisian conservatories. She has also worked on musical shows with conductor Hacène Larbi (Les Nuits), choreographer Mark Tompkins (Show Time! a musical), performer Mathieu Grenier (#NALF l'opéra), and actress Sarah Cohen-Hadria (Kissing Nodules).
In contemporary dance, she has been a performer since 2017 on Footballeuses by Mickaël Phelippeau, whose company now hosts some of his spectacular conferences.
With a Master 2 in art history, she has long taught in design schools, art market and universities. At the crossroads of her practices, she has created a custom form for herself. Une histoire du Football féminin has been touring since 2019 in the network of subsidized stages and in the framework of cultural actions outside the walls of theaters, while L'érotisme dans l'art classique has given rise to a web series adaptation for Arte: Merci de ne Pas Toucher. In 2019, Histoires de Graffeuses was created on a commission from the Centre Dramatique National de Besançon.
In 2022, Hortense Belhôte created several projects of spectacular conferences: Performeureuses, a history of performance in contemporary dance, commissioned by the Théâtre de Vanves for the Artdanthé festival (April 2022); Et la marmotte? a historical and sociological approach to the mountain, commissioned by the Centre chorégraphique national de Grenoble CCN2 (October 2022); 1664, a debunking of Louis XIV's absolutism, (November 2022)

Her last conference, Portraits de familleLes oublié·e·s de la Révolution française, was created on March 14, 2023 at the Espace 1789 in Saint-Ouen.