Solutions — Ákros Compagnie

1,349pieces tracked in our register

81VGP checks on record

August 2026inventory up to date

Our craft

Project support

Study, design, safety, delivery: we help productions, companies and project leaders shape what they want to do — and we think through every detail beforehand so there are no surprises on the day.

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Train

Our first craft. Artists, companies, productions, events: when a project calls for aerial work, acrobatics, stunts or stage combat, we bring the performers — dancers or otherwise — up to what the project demands. We set, we rehearse, we make it safe, until it's clean and safe on stage.

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Design

What happens on stage, and what makes it possible: placing the acrobatics, writing an act and choosing the apparatus, setting a stunt and its landing, choreographing a fight. And the rigging itself: our rigging is human flight (not lighting or sound — people and apparatus). We tell you where and how to fly; structural validation of the anchors belongs to an engineer or a structural consultancy.

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Equip

Landing mats, flight gear, winches, aerial motors, hardware, tripods, pole-dance stages: our inventory goes out on hire, tracked and documented. And our 250 m² studio in Mouchamps — six aerial rigging points, one motorised — is bookable for residencies: dance, circus, stunts, research and creation.

An inventory tracked piece by piece — every carabiner and every sling has its record and serial number.
Documented periodic inspections — statutory safety checks are logged in our safety register, kept up to date.
A loan agreement with every rental — gear listed, condition noted, terms set out.

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Our fields

What we do

Every request comes with its own venue, performers, dates and budget. We look at what it really involves, then propose what holds.

Acrobatics

We place the acrobatics inside the act, the tableau, the scene: what is seen, when, in what space. Lifts, jumps, falls, landings — set and rehearsed with your performers.

Circus & aerial

Silks, straps, hoop, rope, trapeze, net: we write the act, choose the apparatus that suits the story you are telling, and build the sequences.

Human flight

Where to fly and how to get there: the path, the take-off and landing heights, the speed, the forces at play — and what it asks of the person flying. We draw the flight, build the system, load-test it.

Stunts

We design and set the stunt with the people who will perform it: we break the move down, choose the landing — mats, restraint, height — and rehearse in slow motion before moving to show tempo.

Stage combat

We choreograph the fight and the weapon work: readable from the house, safe for those performing it, sustainable night after night.

3D plan & staging adaptation

We work in 3D: we place the flight, the apparatus and the performers inside the volume of your venue, check the clearances and the heights, and look at what the house actually sees. Then we propose the adaptations — a rostrum added, a set piece pulled back, an entrance moved to the other side. And we say plainly what will not work: better to hear it now than three days before opening.

None of these fields is a package. Depending on the project we cross one, or three at once, and the answer is never the same twice.

Method

From intent to stage

Every project comes through its own door:

“I want to train and prepare my performers — dancers or otherwise.”

“My show needs aerial work, acrobatics, stunts.”

“I have a venue and an idea — will it work here?”

Three doors, one thread — held from end to end, from the first idea to the performances. Here it is, step by step.

The intentIt all starts with what you want the audience to feel: an image, a thrill, a level of performance — an aerial act, an acrobatic tableau, a stunt, a fight. We listen and ask the concrete questions — your venue, your dates, who your performers are, how far you want to go — and leave with a clear direction.
The studyThen we test that intent against reality. Your venue: where to fly and how, but also what the stage allows — where to place the acrobatics, which stunts work with this floor, this clearance and this height, where a fight can sit and at what distance from the audience and the other performers. Your performers: where they start from, what they can reach in the time available. And we speak plainly — what works, what needs adapting, what we advise against: saying it early costs less than finding out in rehearsal.
The planThe study says what is possible; the plan says how we get there. We work in 3D when it helps to decide, and propose the staging changes that make the act both workable and beautiful: a rostrum added, a set piece pulled back, an entrance moved to the other side. The rest follows — writing the act, the figures and the choice of apparatus (silks, straps, hoop, rope, trapeze, net), the flying system (hardware, ropes, pulleys, motors), the training path, the schedule, the gear. And who signs off on what: structural validation of the anchors on the building belongs to your engineer or structural consultancy — we do not sign it — and we prepare the ground with them.
The trainingOur first craft. We bring your performers — dancers or otherwise — into acrobatics, aerial work, stunts or stage combat, weapon handling included. We find the solutions, set the figures, the falls and the weapon passes, rehearse, make it safe — in our studio in Mouchamps or at your venue — until it is clean and sustainable night after night.
The installWhile the performers progress, the set-up takes shape. Rigging at your venue — flying points, apparatus, mats and landing zones — then load testing and commissioning. When the artists arrive, everything is ready.
The stageThis is where the two threads meet: what was set in the studio takes its place in the show. We place the acrobatics within the tableau, time the entrances and the sequences, set the stunts and the fights on stage — distances, angles, eyelines — and adjust heights, speeds and tempo. Then we run it again in real conditions, costumes and lighting included, through to the full run-through.
What followsOpening night is not an ending. Gear tracked in our AERIS register, periodic inspections scheduled, a hire agreement provided — and we stay reachable: a doubt, a revival, a replacement to train, a new date, the thread does not break.

You can also pick up the thread part-way: sometimes we only train, sometimes we only design the flight, sometimes we only provide the gear. The rule stays the same: nothing goes up that hasn't been studied, nothing is performed that hasn't been rehearsed.

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