Production, distribution,
& administration
for performing arts


Fabrik Cassiopée collabores currently with Jonathan Capdevielle (since 2009), Mickaël Phelippeau (since 2013) and Marcela Santander Corvalan (since September 2016) for administration, production and distribution.
Since October 2015, we have also been at the head of a distribution mission with the CDN Besançon Franche-Comté, headed by Célie Pauthe.
We have chosen to work with a limited number of artists, to be able to work as closely as possible taking into account the singularity of their approaches, to best develop their activities and and to propose an relevant and specific implementation according to the identity of the projects.

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Jonathan Capdevielle was born in 1976 in Tarbes, France. He lives in Paris.

He studied drama in Tarbes from 1993 to 1996, then he entered the Ecole Supérieure Nationale des Arts de la Marionnette. Actor, puppeteer, ventriloquist, dancer and singer, Jonathan Capdevielle is a unconventional multitalented artist.
He has been involved as an actor in several performances such as: Personnage à réactiver, (by Pierre Joseph) (1994), Performance with Claude Wampler (1999), Mickey la Torche by Natacha de Pontcharra, translation 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 Dispariteur, Le groupe St Augustin, Monsieur Villovitch, Hamlet and Marseille Massacre (atelier de création radiophonique - France Culture), directed by Yves-Noël Genod (2004-2010), Bodies in the cellar, directed by Vincent Thomasset (2013). He performs the role of Nicolas in the film Boys like us directed by Patric Chiha (release scheduled in Autumn 2014).
Gisèle Vienne’s collaborator since the beginning, he has been performing in all her plays:
Jean Genet’s Splendid’s (2000), Showroomdummies (2001 and rewriting 2009) and Stéréotypie (2003), directed by Etienne Bideau – Rey and Gisèle Vienne. And I Apologize (2004), Une belle enfant blonde / A Young, Beautiful Blond Girl (2005), Kindertotenlieder (2007), Jerk, a radioplay (2007,) Jerk (2008), Eternelle Idole (2009), This is how you will disappear (2010) and LAST SPRING : A Prequel (2011), directed by Gisèle Vienne. Gisèle Vienne, Dennis Cooper, Peter Rehberg and Jonathan Capdevielle published, in March 2011 an audio book in 2 versions French and English: “JERK / Through Their Tears”, editions DIS VOIR. In 2013, he acted in the film directed by Patrick Chiha, Boys like us, which will be released at the beginning of 2014.

He has started to develop his own projects from 20006 with performances. In September 2006, he created with Guillaume Marie We are accidents waiting to happen in the Palais de Tokyo. In August 2007, he presented for the first time the performance-show Jonathan Covering during the Festival Tanz im August in Berlin, starting point of his first solo creation Adishatz / Adieu (2009). This work is a self-portrait shaped by a blend of sung material and imitation, combining pop culture, as well as his roots and family stories. Drawing on the self-fiction style, it is a sort of confessional documentary that highlights a character’s wanderings between real life and fantasy/dream life, touching in a very universal manner.
In November 2011, he presented Popydog at the Centre National de la Danse in Pantin, that he created in collaboration with Marlène Saldana. In August 2012, commissioned by the Far° Festival (festival of arts vivants/living arts), he created Spring Rolle, an in situ project with two performers, Jean-Luc Verna And Marlène Saldana.
In Saga, created in February 2015, Jonathan Capdevielle has opened new chapters of the autobiographical stories, continuing to deal with this mysterious lines between fiction and reality, present and past.
In November 2017, he presented his last piece, A nous deux maintenant, based on the novel Un Crime by Georges Bernanos. 


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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.

Mickaël Phelippeau also collaborates on projects with other choreographers and writers, among them Édouard Levé, with visual artists like Laurent Goldring, and singers, such as Barbara Carlotti.

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. With one of the artists, Maud Le Pladec, he created Fidelinka-extension and Fidelinka in 2005.

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. 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, Yellow Project (piece for 50 yellow-lovers), 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 Llamame Lola and Avec Anastasia (solo for the teenager Anastasia Moussier), in 2016 membre fantôme with Erwan Keravec, performance as part the Sujets à Vif programme, in 2017 Footballeuses. The last performance Soli has been created at L'échangeur, CDCN Hauts de France, as part of the festival C'est comme ca! in October 2017.

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.

From 2011 to 2014, Mickaël Phelippeau is artist in residency at Quartz, scène nationale de Brest and from 2012 to 2016 at Théâtre Brétigny, scène conventionée.

Mickaël Phelippeau is artist in residency at L’échangeur-CDC Hauts-de-France (2016-2017-2018) ; at Le Merlan, scène nationale à Marseille (2016-2018) ; at Centre chorégraphique national de Caen en Normandie (2016 - 2019).


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Née au Chili, Marcela Santander Corvalán se forme à la danse-théâtre à la Scuola d’Arte Dramatica Paolo Grassi de Milan, puis à la danse contemporaine au Centre national de danse contemporaine d’Angers, sous la direction d’Emmanuelle Huynh. En parallèle de sa formation, elle étudie l’histoire à l’Université de Trento en Italie et obtient une licence en danse à l’Université Paris-8.

Depuis 2011, elle travaille avec les chorégraphes Dominique Brun Sacre #197 et Sacre #2 et Faustin Linyekula Stronghold. Elle travaille également en collaboration avec le chorégraphe Mickaël Phelippeau Chorus (2012), Pour Ethan et Set-Up (2014), Kritt (2016), Footbolleuses (2017) et pour la direction artistique de la manifestation À DOMICILE à Guissény en Bretagne.

En septembre 2014, elle présente son premier projet Something around the sound, co-signé avec la danseuse et chorégraphe Clarisse Chanel. En février 2015, elle co-signe avec le danseur et chorégraphe Volmir Cordeiro la pièce Époque. En mars 2016 elle crée son premier solo DisparueSa dernière création, MASH, cosignée avec la chorégraphe italienne Annamaria Ajmone a été créée en juillet 2017.

Elle est artiste associée au Quartz, scène nationale de Brest de 2014 à 2017.