Flora Détraz has a ballet background and follow literature studies. She completed the course run by Maguy Marin, at Centre Chorégraphique National Lyon, under and then the choreographic studies at Forum Dança, in Lisbon.
She had the opportunity to meet artists as Marlene Monteiro Freitas, Vera Mantero, Lia Rodrigues, Meredith Monk, Meg Stuart, among others, which influenced her work.
She starts making her own pieces in 2013, questioning he relationship between voice and movements : Peuplements (2013), Gesächt (2014), Tutuguri (2016), Muyte Maker (2018).
She is currently performing on the show Bacchae, prelude for a purge by Marlene Monteiro Freitas. She was choreographic assistant for the piece Anarchismos by Pablo Fidalgo.
Through an exploration of medieval images, trivial ditties and grotesque paintings, Muyte Maker celebrates disobedient and irrational bodies.
It examines joy as a physical and existential statement: joy as desire and creative potential, going against the grain of morality, and as a physical distortion or contradiction.
The four women performers sing copiously, laugh polyphonically, dance blindly, and chat cacophonously, in an attempt to render the full complexity of their own bodies.
Tutuguri solo piece, presented in diptyque is composed by Gesächt, variations around the figure of the baryton singer Dietrich Fisher Diskau, and Tutuguri, involving a sound vibrant body.
Here, vocal cords and body are playing together, offering to « hear » dance. In a polyphonic solo piece, Tutuguri explores the dissynchronicity between movements and sounds, in a perpetual conflict of opposites. The dancer’s body is inhabited by whispers, animal growls, children’s noises, alien sounds, conversations, spasms, singing from the guts, transporting us to a spectral landscape of voices.
Tutuguri aims connectedness, it proposes fluxes of sounds and affects and promotes bridges to nothingness.
Glottis takes place within a glottis or in the depths of a grotto, in ancestral times, during prehistory, or in future times, after the story. Three characters – blind visionaries, shamans under hypnosis, or down-toearth somnambulists indulge in mysterious practices. In a form of danced concert disturbingly resembling a fantastic prophecy, they are having a discussion with a range of invisible forces.
As an onreiric immersion into the meanders of the magic and of the unconscious, Glottis celebrates the dark forces.