a line runs to the Héré arch to access the capital

a line runs to the Héré arch to access the capital
a
      line
      runs
      to
      the
      Héré
      arch
      to
      access
      the
      capital
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The time to settle into the sustained rhythm of the incessant entrances of visitors, the queue to access the marquee has been channeled, it has gone back up to the Héré arch for a while. To make the wait more pleasant, the security guards hand out the program booklet of the show. A little reading is always welcome.

The benefits of dance debated with Bartabas

Bartabas signs this fall “A gesture towards the bottom” (Gallimard) and Alexandre Lacroix “Dance, philosophy of the body” (Allary)they end their joint intervention at the Ballet de Lorraine. “Dance is the last prehistoric art. A living art that only passes through,” assures Alexandre Lacroix. Bartabas adds, “True transmission is in knowledge, but not in execution. We manage to make a discipline, like dance, last through that.”

In a nightclub, for example, we dance and there may be sexual desire.

Alexandre Lacroix traces the history of dance and the eras it has gone through: “We don’t know of a human society without dance. Even today, high school dances on Tik Tok are a different form, but they’re still dance.”

The discussion continues around the question of the correlation between the number of hours we spend dancing and the number of hours we devote to our sexual partners. “In a nightclub, for example, we dance and there can be sexual desire,” explains Alexandre Lacroix.

Bartabas delivers a rather intimate story to the audience. Enough to make the audience smile. The director talks about his life, his shows, his thoughts.


“If I read Proust, it’s great but I don’t feel like drawing. On the other hand, HG Wells, Jules Verne, Bradbury, Lovecraft, a nasty guy but a brilliant author, have shaped my culture of the imagination” Enki Bilal on the stage of the Opera this morning

While waiting to write their little words about their respective latest works published by Anne Carrière, Emmanuelle Hutin (“Les Francs Tireuses”) and Pierre Darkanian (“Nous sommes immortelles”) do not hide their pleasure at finding themselves living room neighbors. Each having fun selling the other’s book. “It’s a literary experience that I haven’t had for a long time,” emphasizes the writer in response to the compliments of her neighbor who described her book as “wonderful.”

A moment of complicity between living room neighbors

Emmanuelle Hutin and Pierre Darkanian

Emmanuelle Hutin and Pierre Darkanian

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