In 2011, touring with its two newest choreographic works –Danièle Desnoyers / Le Carré des Lombes confirmed its fame in France. In March, Le Carré des Lombes performed Là où je vis at Festival Artdanthé as a European Premiere, then at l’Onyx in St-Herblain, and at Grand Théâtre in Lorient. Two months later, Les Rencontres chorégraphiques internationales de Seine-Saint-Denis presented Dévorer le ciel as another European Premiere.

Following residencies at the Circuit-Est centre chorégraphique in Montreal, the Baryshnikov Art Center in New York, the Atelier de Paris – Carolyn Carlson, and TanzWerkstatt in Berlin, Le Carré des Lombes launched Sous la peau, la nuit in co-production with the Festival TransAmériques, on June 4, 2012. Danièle Desnoyers has created long sequences of finely textured movement, which remind us that dance has the power to fuel the imagination, unfurling its silent score within the music that completes it.

In September 2012, Dévorer le ciel opened the Live Art Dance Production’s new season in Halifax. Then selected in October by Le Conseil des Arts de Montréal on tour, the production was performed at Centennial Theatre in Sherbrooke and Théâtre Hector-Charland in L’Assomption. In Mars 2013, Dévorer le ciel started an extended European tour including 10 performances in Belgium, France and The Netherlands. For the first time, in November the Guangdong Modern Dance Festival in China featured one representation of the choreography.

Meanwhile, Danièle Desnoyers is invited to create a new work by the co-directors of Danse Danse Serie from Place des arts in Montreal and by the Théâtre national de Chaillot in Paris. The choreographer began creating her new work for ten dancers and one harpist, Paradoxe Mélodie last season. The choreography has been premiered on June 2014 at the Canada Dance Festival National Arts Centre in Ottawa.

Starting in 2014, Danièle Desnoyers realized a series of commissioned works for such institutions as the Royal Opera House in London, the Staatstheater Mainz in Germany, Mocean Dance in Halifax and Orchestre Symphonique de Montréal with the spectacular Organ Concert Anatomie d’un souffle in 2016.


In the spring of 2009, the Montreal contemporary dance series Danse Danse gave carte blanche to Danièle Desnoyers for a new work to be included in its 2009-2010 season. Early the next fall,  the choreographer set to work, moving away from the multidisciplinary approach of her last few works and re-establishing her intimate dialogue with the body. This new piece for six dancers, entitled Dévorer le ciel, will premiere at the Centre Pierre-Péladeau in Montreal on January 14, 2010.

Also in the fall of 2009, the Festival Internacional Cervantino in Mexico will feature three performances of Là où je vis. The work will also be performed in three Spanish cities in the winter of 2010: Seville, Grenada and Malaga.


Created during residences in Germany, France and Quebec, Play It Again! featured another encounter with an instrument—the piano—and with Jean-François Laporte, a renowned composer and designer of sound installations. 

Dominating the theatrical space, divested of its primary function and manipulated in myriad ways by pianist Martin Ouellet, this “piano-protagonist” enters into a dialogue—sometimes lively, sometimes languid—with the five dancers. The reverberations between these unexpected sonorities and the vibrations issuing from the dancers’ bodies were a source of constant inspiration for the choreographer, who infused the entire work with a sense of playfulness.

Play It Again! premiered at the Royal City Theatre in Bruges before going on to the Centre culturel de Warande in Turnhout (Belgium) in September 2005. A series of performances were then held during the Danse Danse season at L’Agora de la danse in Montreal.

In addition, Duos pour corps et instruments is continuing its run on the world stages with performances in Japan and Korea at the Dance Triennale Tokyo and Seoul Festival.

While Play It Again! continues its run in Quebec, the company has begun creating a new choreographic work. As the associate dance company of Agora de la danse, Le Carré des Lombes presented the world premiere of Là où je vis in Festival TransAmérieques in May 2008. This new work was then performed at December Dance (Bruges) that same year.


The artist then began a trilogy with sound designer Nancy Tobin. Concerto grosso pour corps et surfaces métalliques set the body to music, the dancers performing with cleated shoes on a metal-plated stage. With this remarkable quintet, Danièle Desnoyers won the 2000 Prix d’auteur du Conseil général de la Seine-Saint-Denis at the 7th Rencontres chorégraphiques internationales in France. This acclaim was reinforced in 2003, when this outstanding collaboration between Danièle Desnoyers and Nancy Tobin was performed at the Contemporary Music Biennale in Zagreb, Croatia. 

In 2002, Bataille was the setting for an unusual encounter between dance and three acoustic environments: the electroacoustic inventions of Nancy Tobin, the 18th-century Baroque airs of Giuseppe Tartini, and the music of American composer, improviser and violinist Malcolm Goldstein, whose presence held audiences in thrall.

The following year, during a residence at the Musée d’art contemporain de Montréal, Danièle Desnoyers began creating Duos pour corps et instruments. As with previous works, this multimedia project went beyond the confines of dance. After gracing the 11th Festival international de nouvelle danse, Duos pour corps et instruments was performed at several venues in Germany, Belgium, France and Hungary, as well as in Japan and Canada.


In 1996, the Centre d’Arts Vooruit (Belgium) offered the choreographer a creative residence. Sparked by her encounter with the dissonant music of Russian composer Sofia Gubaidulina, Discordantia (1997) became the choreographer’s first dialogue between dance and music. One year later, it proved to be a turning point for Le Carré des Lombes.

The piece was hailed at the Festival international de nouvelle danse in Montreal, then at the Shizuoka Performing Arts Center in Japan during the prestigious Theatre Olympics. Le Carré des Lombes was the only Canadian company invited to this major event, which featured some twenty artists from five continents.


Since the early 1990s, Danièle Desnoyers has established herself as one of Quebec’s most innovative choreographers, opening up new avenues in dance with sensorial, groundbreaking works. With her company Le Carré des Lombes, founded in 1989, she has initiated unique projects with sets and sound environments that strongly influence the corporeal language, creating a theatrical dynamic of bodies in motion.

Her early works, Des héros désaffectés (1986), Rouges-Gorges (1989), Mirador-Mi-clos (1990), Les bois-dormants (1991) and Ex-Voto (1992) were all instant favourites. In contrast with the athletic Montreal style of the era, these works subtly embodied the private and mysterious worlds that never cease to fascinate. Pervaded by a sense of freedom and bursting with energy, Du souffle de sa tourmente, j’ai vu (1994), a pivotal work for Le Carré des Lombes, launched the company on its first major tours in Canada, Europe and the United States.



Le Carré des Lombes have been invited to perform in North America, Europe and Asia.

Biennale international de danse de Val de Marne (France)
Body Stroke Festival de Bruges (Belgium)
Canada Dance Festival in Ottawa (Canada)
Centre National de la danse in Paris (France)
Danse Danse (Montreal, Quebec)
Dance Triennale Tokyo (Japon)
Dance Biennale Seoul (South Korea)
Festival Danse à Lille (France)
Festival Internacional Cervantino (Mexico)
Festival international de nouvelle danse de Montréal (Montreal, Quebec)
Festival Tanz-Im-August de Berlin (Germany)
Festival TransAmériques (Montreal, Quebec)
Guangdong Dance Festival (China)
International Festival of Contemporary Dance in Munich (Germany)
Künstlerhaus Mousonturm of Frankfurt (Germany)
New Moves Festival de Glasgow (Scotland)
Rencontres chorégraphiques internationales de Seine-Saint-Denis (France)
Spring Dance Festival in Utrecht (The Netherlands)
Trafo House of Contemporary Arts in Budapest (Hungary)

Le Carré des Lombes has worked in residence :

Agora de la danse (Montreal, Quebec))
Baryshnikov Art Center (USA, New York)
Centre d’Arts Vooruit (Ghent, Belgium)
Centre culturel de Warande (Turnhout, Belgium)
Groupe de la Place Royale (Ottawa, Canada)
La Rotonde Centre chorégraphique (Quebec, Quebec)
Musée d’art contemporain de Montréal (Quebec)
O Vertigo, centre chorégraphique (Montreal, Quebec)
Place des Arts (Montreal, Quebec)
Salle Pauline-Julien (Montreal. Quebec)
Théâtre du Bic (Bic, Quebec)
Théâtre Jean-Renoir in Dieppe (France)
Usine C (Montreal, Quebec)
University of New Mexico (Mexico)
Yellow Springs Institute of Pennsylvania (United States)

Le Carré des Lombes is also a member of the Circuit-Est centre chorégraphique in Montreal.