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Thème et variations 2016 - Director : Bataillon, Vincent

Choreographer(s) : Balanchine, George (Russian Federation)

Present in collection(s):

en fr

Thème et variations 2016 - Director : Bataillon, Vincent

Choreographer(s) : Balanchine, George (Russian Federation)

Present in collection(s):

en fr

Thème et variations

The revival of George Balanchine’s Thème et Variations, to music by  Piotr Ilitch Tchaikovsky, offers another facet of dance from across the  Atlantic. This classical and virtuoso group ballet, one of the  repertoire's most demanding, also pays tribute to the Imperial Ballet of  old Russia and its most famous master: Marius Petipa.

Source: Telmondis

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Balanchine, George


An American dancer and choreographer of Russian origin.

Born in Saint Petersburg, the son of a Georgian composer, Balanchine joined the Mariinski Dance School by chance and graduated in 1921. In 1924, whilst on a tour with the Soviet State Dancers in Germany, he left his country and joined Diaghilev's Russian Ballet troupe as a dancer. Promoted to ballet master in 1925, he asserted his vocation as a choreographer and began a close partnership with Igor Stravinsky. When Diaghilev died in 1929, he worked sporadically in London (for the music hall), Copenhagen and Paris. He collaborated with the Russian Ballet of Monte Carlo (1931-1932), then, after meeting Edward James, the Anglo-American millionaire and surrealist arts patron, he founded the Ballets in 1933, with whom he performed several times in Paris and London. He went on to accept a proposal from L. Kirstein, to create a classical school in the United States and established himself in New York in August 1933 and became an American citizen in 1939. After creating the School of American Ballet (1934), he became director of the American Ballet. He was invited to create works for the Original Russian Ballet (1941), the American Ballet Caravan (1941), the Russian Ballet of Monte Carlo and the Paris Opera. From 1935 to 1951, he also choreographed for Broadway stages (“On Your Toes” in 1936; “Babes in Arms” in 1937; “Cabin in the Sky” in 1940; “Where's Charley?” in 1948) and for several Hollywood films with V. Zorina. But it was in particular as the director of the Ballet Society of the NYCB, from 1948 onwards, that he enjoyed a fertile and prestigious career.

His dance

Balanchine prioritized the danced element. Very early on, he deliberately distanced himself from dramatic narration and, although he created a few theme-based ballets (“Apollon Musagète” in 1927; “The Prodigal Son” in 1929; “La Sonnambula” in 1946; “Orpheus” in 1948 and “Nutcracker” in 1954), he did so by eliminating all pantomime and sought to recount the story clearly and exclusively through the expression of dance. He also arranged “ambience ballets”, which were, as such, without intrigue, but maintained the situations and/or the characters that the partition suggested (“Cotillon” in 1932; “Serenade” in 1934; “la Valse” in 1951; “Liebeslieder Walzer” in 1960 and “Tzigane” in 1975).

The music and how it was interpreted were the cornerstones of his work. For him “ballet is first and foremost a matter of tempo and space: space delimited by the stage and by time initiated by the music”. His most specific productions were theme-free ballets whose construction and form emanated from the musical source. Without illustrating, he allows a partition, that has been composed or not for dance, to be visualized, by building on the rhythmic structure, the melody and the harmonic development of the work selected: “Watch the music, listen to the dance” he advised. Although he had a preference for classical works, he also used a more modern registry and occasionally a popular or jazz one. Notwithstanding, his favourite composers were Tchaikovsky and in particular Stravinsky, with whom he created over thirty ballets.

Privileging scenographic denudation so that the regard could focus on the choreography, he generally opted for a bare stage and costumes that emphasized silhouettes, regularly imposing simple tunics and leotards.

Esteeming Petipa as his spiritual father, he was in keeping with the classical tradition and referred to academic steps so that he could in fact go beyond them. He developed a style that was characterized by an external appearance that was carried to the extreme, dynamic, precise and vigorous movements, haunched positions, complex combinations of steps that could even veer to the acrobatic, swiftness in performing that was in accordance with the tempi of the musical works that inspired him. He advocated formal beauty that tended towards pureness, technical virtuosity transcended by the performers' mastery and he gave preeminence to the dancer. He worked with a myriad of “muses”, ballerinas with long, slender legs and discreet silhouettes, that he often led to make their debut at a very young age.

Acclaimed as one of the greatest choreographers of the 20th century, he contributed to the “Americanization” of ballet and played a key role in the development of musicals, where he introduced classical dance and, paradoxically, the principles of narrative ballet.

Source : Larousse Dance Dictionary online

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Bataillon, Vincent

Ballet de l'Opéra national de Paris

The Paris Opéra Ballet is the official ballet company of the Opéra national de Paris, otherwise known as the Palais Garnier, though known more popularly simply as the Paris Opéra. Its origins can be traced back to 1661 with the foundation of the Académie Royale de Danse and the Le Ballet de l'Opéra in 1713 by King Louis XIV of France.

The aim of the Académie Royale de Danse was to reestablish the perfection of dance. In the late seventeenth century, using 13  professional dancers to drive the academy, the Paris Opéra Ballet  successfully transformed ballet from court entertainment to a  professional performance art for the masses. It later gave birth to the  Romantic Ballet, the classical form of ballet known throughout the world. The Paris Opéra Ballet dominated European  ballet throughout the eighteenth and early nineteenth centuries and  remains a leading institution in the art of ballet today.

Source: New World Encyclopedia

Thème et variations

Choreography : George Balanchine

Interpretation : Laura Hecquet, Josua Hoffalt, Corps de ballet de l'Opéra national de Paris Ballet

Additionnal music : Pyotr Ilyich Tchaikovsky

Production / Coproduction of the choreographic work : Opéra national de Paris

Production / Coproduction of the video work : Cineteve, co-production Opéra national de Paris ; France Télévisions


Created in 1972 and run by Antoine Perset since 2004, Telmondis is one  of France’s largest audiovisual producers of upscale live performances :  opera, ballet, theatre and world-renowned circus performances, musical  shows, classical and contemporary dancing, jazz, world music and  documentaries.

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