Suzanne COTTO’s dancing show is an amazing feat. As all the true “performers”, she doesn’t need any props  on stage to exude and make the audience share this clever and explosive mixture of dance, mime and poetry; the whole performance being spiced with a strong touch of humour and amazingly well performed.
Daniel BIRY, composer
A show full of delicacy and surprises. 
The young people love it, the old ones too. Suzanne is a character with a strong sense of humour;  she combines fickleness and improvisation dance.

Catherine ESTAMPE, manager in cultural affairs in Vallauris-Golfe-Juan
Upside down question mark, shaken, everything being called into question.
Suzanne COTTO’s improvisation draws from existential poetry and  the musical field trampled, reduced to the essential breathing, the gestures coming from the diaphragm, the chakras washed away with the scarlet water of everyday life. With very limited gestures, reduced to lifting, learning how to walk on the tip of heels and on the sharp tip of tiptoes. Constrained and exuded breathing, accurately bursting out with a touch of humour, offered gestures, given in the oblivion of dancing, expecting the other with a capital “O” like Opportunity, fragile. Mastering with great accuracy swaying walk, arm and wrist dancing : a perfect harmony between silence, hand movement and denseness.

Bruno MENDONCA, artist

Suzanne COTTO jumps happily from the near clownish to the dead tragic movement, from one foot to the other as in a childish game.
Gérard SIRACUSA, musician-composer

Thrilling joy of string of eventful lyrics, spreading on the harsh and funny backdrop of life. Choreographic poem, smiling with truth, lively with strength and emotions.
Dany MOREUIL, choreograph-writer

“Where?”… Wait for us, we are coming…
Martine CHEBAT, tennis player

What it's «said» is danced, the dance tells. You crosses the areas: dance, theatre, music-hall, clown ... in one walk: humor and poetry
Christiane AUBERT – CHARTRON, Spectator

…If we consider clapping, the MEZZO CORPO trio has definitely been the most impressive for people’s minds. A performance on the border between Contact Dance and a great touch of funny improvisation.
With Trigger 02.3, they will have managed to drive the audience into their “delirium”.

Nice Matin

The natural softness of the gesture, the fantasy of an imaginary world without any taboo are the two concords that we have experienced watching Suzanne COTTO’s work.
An instantaneous musical drama

In this harsh and speedy world, full of endless fragmentations that shake our worried minds ~ as you have expressed it in your choreography~ you were passing a message full of love on us. Yes, to fight against what is pathetic, stormy and absurd, a grammar stripped with unnecessary gestures enables two bodies to tell the story of a harassed humanity that desperately looks for healing, pacification … unity. During these moments, you were handing our fickleness back to us. You were passing a burst of enthusiasm on to us. For a handful of time, you have made us happy before we got back to our destinies filled with a meditation on the quite eloquent language of dancing.
Madeleine CATY, artist   Gilbert CATY, consultant

Suzanne COTTO is a master of Contact dance and improvisation. In this choreographic action, she offers a confrontation of bodies, an osmosis of their gestures always flickering between conflict and harmony. The dialogue and the impetus towards the other partner are at the heart of this extremely sensitive dance.
Philippe BAUDELOT, consulting-programmer


- Conférence Dansée
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- Atelier Contact / La Forge Royale Paris
Les Saisons de la Danse 1979
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- Danse Contact Improvisation 1999
Nouvelles de Danse 38/39 CONTREDANSE Belgique
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- Conversation avec Suzanne Cotto
Agnès Benoît Nader
Nouvelles de Danse 32/33 CONTREDANSE Belgique

- Around in and out CI
ECITE 2009
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- Le Contact Improvisation, dialoguer par le toucher / extrait N°48 (Juillet-Septembre 2008)
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- Primorski Dnevnik (18.05.2008)
Journal slovène de la ville de Trieste (Italie)
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- Danse Contact Improvisation
La danse dans tous ses états Mars 1987 / Pratiques corporelles n°74
Société Française d’Éducation et de Rééducation Psychomotrice
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- La Normandie et le Monde 2011
Article Le Démocrate de Vernon
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- Using scores in dance improvisation / extrait
by Olivia Millard originally published on 1 March 2016 in Brolga 40
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- Vieille Bio 1
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