Amoveo, Les Sylphides, Le spectre de la rose
Programme Benjamin Millepied
Between cinema and dance, between interpretation and choreography, between New York and Los Angeles, between the United States and France where he was born thirty-five years ago, between studio and advertising, Benjamin Millepied n don't want to choose. Or rather, his choice is precisely to be on several terrains at the same time. He doesn't run, he flies and decidedly everything smiles on him! For the dancers of the Grand Théâtre de Genève, he wrote Le Specter de la Rose and Les Sylphides, two legendary pieces from the Ballets Russes which he revisited in his own way. His Sylphids are bouncing, his version of the Specter is stunning and unprecedented, full of humor and mischief. Millepied composes scores there today, retaining a certain romanticism but adorned with pop colors. Amoveo, originally created for the Paris Opera, deciphers the metamorphoses of a love story. The evening as a whole is delicious, fresh and brilliant, which gives us a great breath of aesthetic pleasure.
Source : Maison de la Danse de Lyon
From 2006 to 2007, Mr. Millepied was choreographer-in-residence at the Baryshnikov Arts Center and created the solo “Years Later” for Mikhail Baryshnikov. In 2007, he received the United States Artists Wynn Fellowship. In 2010, he was made Chevalier in the Order of Arts and Letters by the French Ministry of Culture.
In 2010, Mr. Millepied choreographed and starred in Darren Aronofsky’s « Black Swan ». In 2012, Mr. Millepied moved to Los Angeles, where he conceived of and founded the new dance company L.A. Dance Project. During L.A. Dance Project’s September, 2012 inaugural performances at the Los Angeles Music Center’s Walt Disney Concert Hall. The company performed « Moving Parts », a collaboration between Mr. Millepied, with composer Nico Muhly, and visual artist Christopher Wool. In May 2013, L.A. Dance Project presented « Reflections », a new work which was the result of a collaboration between Mr. Millepied, with composer David Lang, artist Barbara Kruger, and which was created with the support of the historic jewelry house Van Cleef and Arpels. In 2013, Millepied founded the Amoveo Company, an artist collective, active in digital media, television and film, and in 2014, he co-founded Artform, a tech start-up company aimed to support and promote the Arts and artists in this current time. Millepied is also a film director, he has directed numerous dance short films over the last 6 years, and is currently in development on a feature film. In January 2013 the Paris Opera Ballet announced Mr. Millepied’s appointment as its new Director, in February 2016, Benjamin resigned from his position. In July 2016, Benjamin came back full time at the helm of L.A Dance Project.
Source : Benjamin Millepied 's website
Ballet du Grand Théâtre de Genève
Artistic direction: Philippe Cohen
At the beginning of the twentieth century, the major ballet companies were invited to Geneva to perform on the Théâtre Neuve's stage, and notably Isadora Duncan and Nijinsky with the Ballets Russes. It was only when it reopened in 1962 that the theatre founded its own ballet company. Its direction has been entrusted successively to Janine Charrat, Serge Golovine, Patricia Neary, Peter van Dyck, Oscar Araiz, Gradimir Pankov, François Passard and Giorgio Mancini. From the outset, this company has aimed to explore the plurality of twentieth-century dance styles, which has led it to work with famous artists such as Georges Balanchine (artistic advisor from 1970 to 1978), Mikhaïl Baryshnikov, Rudolf Noureïev, Jiri Kylian, Ohad Naharin, William Forsythe and Lucinda Childs.
Directed today by Philippe Cohen, the Ballet of the Grand Théâtre consists of 22 dancers of various nationalities. Classically-trained, they are all capable of performing neo-classical and modern choreographies. Each season, they generally offer two new works, revivals of pieces from repertoire, tours, schools projects and choreography workshops.
Since Philippe Cohen’s nomination as the manager of the Grand Théâtre de Genève Ballet Company in 2003, the Geneva Ballet undertook a radical reshaping of its repertoire and image, based on two principles apparently worlds apart: tradition and creation. Tradition in the sense of claiming one’s part in a historical narrative; creation in the sense of actively taking part in writing that narrative for tomorrow.
By cleaving to these principles, the Grand Théâtre de Genève Ballet Company seeks not so much to cultivate the richness of its position as to position itself measuredly in a state of creative imbalance, of permanent questioning. This explains the Company’s original and daring artistic choices, resolutely modern and ambitious, and our preference for young choreographers who show the promise of great things in the years to come. By inviting these young choreographers to come and work with no restrictions in Geneva, we hope to establish a momentum of modernity that does not break with the past, but rather echoes its riches and creates a dynamic towards the future. The Grand Théâtre is proud to have served as a launching pad for artists destined to become the star choreographers of our time: Saburo Teshigawara, Benjamin Millepied, Sidi Larbi Cherkaoui, Andonis Foniadakis, Emanuel Gat, Gilles Jobin, Ken Ossola...
Sources: Maison de la Danse show program ; the Grand Théâtre de Genève Ballet Company 's website
More information : geneveopera.com
Angelin Preljocaj - Centre chorégraphique national d'Aix en Provence
Preljocaj, Angelin (France)
A Rite of Passage
The BNP Paribas Foundation
Les Rencontres chorégraphiques internationales de Seine-Saint-Denis
Presentation of the Round’s figure in choreography.
Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians
Body and conflicts
A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.
States of the body
Explanation of the term « State of the body » when it’s about dance.
Focus on the variety of bodies offered by contemporary dance and how to show these bodies: from complete nudity to the body completely hidden or covered.
Discovery of improvisation’s specificities in dance.
Dance and visual arts
Dance and visual arts have often been inspiring for each other and have influenced each other. This Parcours can not address all the forms of their relations; he only tries to show the importance of plastic creation in some choreographies.
Dance at the crossroad of the arts
Some shows are the meeting place of different trades. Here is a preview of some shows where the arts intersect on the stage of a choreographic piece.
The contemporary Belgian dance
This Parcours presents different Belgian choreographers who have marked history and participated in the creation of a "Belgian" style.
The committed artist
In all the arts and here especially in dance, the artist sometimes creates to defend a cause, to denounce a fact, to disturb, to shock. Here is a panorama of some "committed" choreographic creations.
Western classical dance enters the modernity of the 20th century: The Ballets russes and the Ballets suédois
If the 19th century is that of romanticism, the entry into the new century is synonymous of modernity! It was a few decades later that it would be assigned, a posteriori, the name of “neo-classical”.
Why do I dance ?
Reinterpreting works: Swan Lake, Giselle
Some great shows are revisited through the centuries. Here are two examples of pieces reinterpreted by different choreographers.
Genres and styles
Dance is a rather vast term, which covers a myriad of specificities. These depend on the culture of a country, on a period, on a place. This Journey proposes a visit through dance genres and styles.
Discover how the notion of ritual makes sense in various dances through these extracts.