For its summer program at the Théâtre de Beaulieu (June 14-20), Béjart Ballet Lausanne (BBL) is offering “Hamlet” and “Rhapsody in Blue”, two world premiere creations. He will also present the famous “Boléro”, the signature ballet of Maurice Béjart.
“I was keen to present these two creations and the Boléro in studio 4 of the BBL, our daily work space, to open the company towards real communication,” Julien Favreau, ad interim artistic director, declared to the media on Thursday. after the dismissal last February of Gil Roman. For the occasion, he was surrounded by choreographers, their assistants and four dancers.
BBL alumnus, Slovenian Valentina Turcu has created the ballet “Hamlet”, inspired by the famous play by William Shakespeare, about human madness, passion and “the family living in hell”. “These themes have obsessed us for 400 years already, I wanted to make an updated version of them,” she explains, while observing that the work “fits the dancers of the BBL like a glove”.
“The art of dance allows us to reach a metaphysical level inaccessible to classical theater,” adds the choreographer, also active in theater. A former student of the Rudra Béjart Workshop School, she is delighted with this “return to her roots” and dedicates her creation to her “artistic father Maurice Béjart”, who is still “so present”.
Freedom and pleasure of dancing
Like Valentina Turcu, Italian Giorgio Madia also danced at BBL before moving into choreography. For the summer program, he imagined the ballet “Rhapsody in Blue” to the music of George Gershwin. In his words, it is an abstract ballet, “even if Maurice would say that it is not possible, since there are bodies on stage”.
“Like Gershwin, who decided 100 years ago that he didn’t want to follow rules in composing his work, I wanted to create choreography without rules. I wanted to see the company dance and get high with the pleasure to dance,” he comments.
Improved atmosphere
Asked about the atmosphere within the BBL since the dismissal of Gil Roman, the dancers present reported a “very good general atmosphere”. “Things are clearer, we feel better, more supported,” says Jasmine Cammarota. “We experienced a form of shock which led us to take more responsibility in our role as dancers. During the tours, we look at each other and correct each other,” adds Antoine Le Moal.
For his part, Julien Favreau draws a “rather positive” assessment of his beginnings as interim artistic director, which he has held since February 28. Shows and tours continued successfully, he notes. “For two months, I have been on stage but also a lot in the room. When I make a correction and I see that the dancers apply it, I am very touched,” he smiles.
Timely challenge
The Frenchman, a dancer for 30 years within the BBL, says he is “delighted, enchanted and motivated by this challenge” which makes him want to “invest even more”. What’s more, “this mission comes at just the right time” at this stage of his career. He does not hide his desire to continue as artistic director. “I still dance the Bolero, but it will soon be my last, we must give way to young people.”
Julien Favreau specifies that if the BBL no longer collaborates with Gil Roman, the collaboration with the Maurice Béjart Foundation, holder of the rights to the choreographer’s work and chaired by Gil Roman, is “very good”. He further emphasizes that the establishment of the June evenings, initiated by the former artistic director, is his way and that of the BBL of “paying homage” to him as an artist.
This article was automatically published. Source: ats
