He is a multidisciplinary artist working within circus with tight wire and acrodance. It’s at “Académie Fratellini” (Fr) that he started circus. After one year in the preparatory school “Arc En Cirque” in Chambéry (Fr), he completed his education at “DOCH”, University of Dance and Circus in Stockholm (se). Talking about his work he says: "I approach the wire, not only as a line I walk on, but more as a meaningful vector shaping the space I relate to."

TANMIS company is a contemporary circus company based in Stockholm. Its co-founders, Nathalie Bertholio and Simon Deschamps met at "DOCH, University of Dance and Circus" in Stockholm. During their studies, they both researched the concrete relation between their circus apparatuses and the space. Through their practice of tight wire, vertical rope, Cyr wheel, acrobatics, and dance they developed a common interest in architectural questions.

Together they advocate a human approach to the scenic arts, anchored in reality, and without statements. Because the objects/apparatuses are real, the protagonists are real, the emotions are real, the pains are real, and the rules of physics are real. They make a strict distinction between having claims and claiming on stage. Claims are the driving forces of their actions, but should in no case become their product. What they do is what they have to say: it is all there, concrete as architecture in the space.

Tanmis company is developing the concept of  “Architectural circus”, based on the inner potential of circus apparatuses to shape space and influence the perception of the relation between a body and this space.


Educated from the preparatory circus school Balthazar in Montpellier (Fr), the National Circus School of Rosny-sous-bois (Fr) and the University of Dance and Circus in Stockholm (Se), she is practicing vertical rope and Cyr wheel. She is exploring the space through the use of five ropes: “With the ropes, I see many possibilities of cutting, dividing, linking, and defining the space.”





He followed an unusual education between conservatories and Jazz schools in italy and france and self-thought practices ranging from traditional jazz to more free forms. He then developed a radical language based on to the concepts of time and space, and adapts it in the dance, theater, and cinema contexts.

"I try to renew the role of the contrabass by using it as an orchestra, un exploded object recomposed anew, like the music i like"