The Body’s Journey 2015 fall

The project The Body’s Journey is the fruit of more than 20 years of experience in the theatre field (training, university research, teaching, devising). It concentrates on the fusion of two contemporary techniques for the actor/dancer training: The Organic Lineage research initiated and developed by Jerzy Grotowski and then by Eugenio Barba and his collaborators (Theatre Anthropology); and the Corporeal Mime of Etienne Decroux. These different techniques find a commonplace in that they both develop through the actor/dancer the sense of scenic presence and autonomy as an author/performer/creator.

The exercises of the organic process liberate the energetic flux from the spinal column, and propagate to transform the physical body. The actor/dancer thus develops a concentration and identifies with his physical, emotional and mental centers. Instead of searching for a specific expression, the actor/dancer plunges into a real process of organic research, which in turn becomes an artistic expression. The corporeal movements are initiated by impulses that are germinated from the interior of the body and develop within and throughout it. The research in theatre anthropology draws its inspiration from traditional theater from diverse parts of the world.

In the practice of Corporeal Mime, the actor/dancer finds the possibility of creating his or her own personal compositions in isolating different parts of the body, in mastering its articulations, and in playing with varying speeds, resistances and designs of corporeal movement.

The play and the joy of playing, and the improvisation are part of the listening and of the sharing. The research with materials, the acrobatics, the voice work (text and sing) and the exercises of awareness and awakening the interior are also part of our training work, research and creation.

Our project, The Body’s Journey, will guide actors/dancers on a road to self-discovery in order to explore new corporeal paths through the listening of impulses, abandoning of stereotypical and mechanical behaviors, and through the discovery and the respect of a genuine organicity inherent in the body. A corporeal work conducted with attention and sensibility allows the actor/dancer to develop an original language capable of communicating to a larger audience and to cultivate openness to one’s self and to others, recovered through the artistic training of theatre and performance throughout the ages and across cultures.



Leela Alaniz

• Exercises of the Organic Lineage – research of organicity, energetic flux, opening the blockages of the body, and of the release.

• Exercises of attention and interior awakening

• Stage Presence

• Acrobatics, Contact improvisation

Corporeal Mime – Technique Etienne Decroux – articulations, counterweights, dynamo-rhythm, intra-corporeal and inter-spatial causalities.

• Alexander Technique – relaxation and liberation of the articulations

• Work with objects

• Voice – corporeal resonators, vocal improvisations, text

• Improvisations, play

• Compositions, structure

• Final Project


Won Kim

• Improvisations, play


Dominique Moaty

• Singing

She proposes different techniques to facilitate the liberation of voice, combining improvisation with the work of resonance, articulation, breathing, and body awareness through musical play.


Lectures :

Leela Alaniz :  The Fragmentation and the quest for the presence 

Won Kim : The counterweights of Corporeal Mime in the contemporary world


From October 5 to November 6, 2015  

Monday to Friday – 9am to 1pm

On November 6, the personal devised pieces will be recorded on video so that each actor/dancer will have material to include into their video portfolio.

Total 100 Hours / 20hours a week (5 weeks)



To participate in the selection of actors/dancers/musicians (professionals and amateurs) for the Body’s Journey-Fall 2015, send your CV and a cover letter to Leela Alaniz before September 15, 2015.

We will then schedule an interview either by personal meeting, or by phone/Skype.



15 Rue Geoffroy l’Asnier, salle MayB
75004 Paris



By email: Leela ALANIZ
By phone: +33 (0)7 50 46 40 62


Cie. Pas de Dieux

148 rue du Faubourg Saint Denis, 75010, Paris
N° de SIRET : 491 955 704 00029 / Code APE: 923A
N° d’Activité: 11754611575

Leela Alaniz’s career consists of a constant round-trip movement between the practice and the theory of theater. With over 20 years of research in Theatre Anthropology in addition to 16 years of Corporeal Mime practice, she continues to teach many workshops and gives conferences in disparate countries and regions such as Brazil, France, Singapore, United Kingdom, Spain, Belgium, and Argentina. After a double major in Physical Education and Theater Studies in Brazil, she received a scholarship grant to participate in UTA, a center of research for Theatre Anthropology in Brazil. From 1997 to 2003, she studied Corporeal Mime under Thomas Leabhart in California and Paris, eventually becoming his assistant. Her doctoral dissertation entitled: “The Thinker Body, the Dancer Mind – The Actor in his Quest for the Lost Unity”, under the direction of Monsieur Georges Banu, was defended at the University Sorbonne Nouvelle Paris III, 2014 and will published very soon by the L’Entretemps Ed., Paris.

Since 2002, after eight years in the corporate marketing, he has decided to dedicate his life to the learning of physical theatre with Thomas Leabhart and Leela Alaniz. He has played a dual role as actor and co-founder/producer of the company Pas de Dieux with Leela Alaniz. He has also assisted Leela in the development of her own method of actor/dancer training based on the influences of Etienne Decroux and Jerzy Grotowski, in the production of workshops and the development of the full-time training program, The Body’s Journey. In September 2014, he has earned his Ph.D. in Esthetics, Sciences, and Technologies of Arts with Summa Cum Laude at Paris 8 University. His dissertation is entitled, “Corporeal Mime Counterweights in the Contemporary World,” directed by Katia Légeret. He is also an assistant professor at Paris 8 University teaching courses related to mime and physical theatre.

Getting her feet wet with musicals, Dominique Moaty has perfected the Baroque style under the tuteledge of William Christie and Philippe Herreweghe, as well as singing with recording with various ensembles such as l’Ensemble Sagittarius, l’Ensemble Fuoco e Cenere… She has created numerous contemporary works (for Jean-Yves Bosseur, Jean-Baptiste Devillers, Ivan Belloq…), including the France Musique’s TV program “Alla Breve”. She has also her personal side projects: the creation of her own works, as well as directing recitals. Baroque music rests as her preferred expertise. She teaches lyrical singing at the Conservatoire à Rayonnement Régional d’Aubervilliers-La Courneuve as well as la Maîtrise de Radio France. She is also an instructor at the Pôle d’enseignement supérieur de la Musique 93.