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SEGERSTROM HALLFebruary 12 & 13, 2016

Friday at 7:30 p.m.Saturday at 2 & 7:30 p.m.

Preview talks one hour before performance

2015–16 DANCE SERIES

Out of courtesy to the artists and your fellow patrons, please take a moment to turn

off and refrain from using cellular phones, pagers, watch alarms and similar devices. The use of any audio or videorecording device or the taking of photographs (with or without

flash) is strictly prohibited. Thank you.

Media Partners:

The Center applauds:

Support for the Center’s International Dance Series provided by:

Audrey Steele Burnand Endowed Fund for International Dance

The Segerstrom Foundation Endowmentfor Great Performances

Segerstrom Center for the Arts presents

With special underwriting from:

Michelle Rohé

COMPANY DANCERS – ARTISTS

VICTORIA ANANYAN • APRIL BALL • ANJARA BALLESTEROS MARIANNA BARABAS • ANJA BEHREND • ANNA BLACKWELL

SIVAN BLITZOVA • SARAH CLARK • VANESSA DOS SANTOS HENRIQUES CANDELA EBBESEN • LIISA HÄMÄLÄINEN • MIMOZA KOIKEELENA MARZANO • FRANCES MURPHY • TIFFANY PACHECO

MARKETA POSPÌSILOVÀ • GAËLLE RIOU • MAUDE SABOURINANNE-LAURE SEILLAN • KAORI TAJIMA

ALESSANDRA TOGNOLONI • BEATRIZ UHALTE

AURÉLIEN ALBERGE • EDOARDO BORIANI • STEPHAN BOURGOND EDGAR CASTILLO • GABRIELE CORRADO • STEFANO DE ANGELIS

DANIELE DELVECCHIO • LEART DURAKU • ASIER EDESOMICHAEL GRÜNECKER • JULIEN GUERIN • KOEN HAVENITH

MIKIO KATO • ARTJOM MAKSAKOV • MELIH MERTELALEXIS OLIVEIRA • GEORGE OLIVEIRA • LUCIEN POSTLEWAITE

ALVARO PRIETO • BRUNO ROQUE • LUCAS THREEFOOTCHRISTIAN TWORZYANSKI • LE WANG

About the Program

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CHORÉPremiereApril 25-28, 2013Grimaldi Forum – Salle des PrincesMonaco

Choreography: Jean-Christophe MaillotDramatic art: Jean Rouaud Set design and lighting: Dominique DrillotCostumes: Philippe GuillotelMusic: Danny Elfman, John CageComposition: Bertrand Maillot, Yan Maresz, Daniel Ciampolini

With Choré, Jean-Christophe Maillot momentarily abandons the world of great nar-rative ballets to devote himself to these short, abstract pieces that characterise both his work and his thinking. Composed in five sections with some contrast, the backdrop to Choré is the emergence of musical theatre in the United States. Shown by the choreographer as less sparkling than in our imagination, in Choré, this period is used as a pretext to question the evolution of dance and try to escape one of his obsessions, namely the fight between the old and the new. What does dance feed on? How far can it be liberated? At what point does it demand its share of beauty, humour and the past to still feel alive? The world of musi-cal theatre offers a valuable insight into the response and Maillot is able to take many of its elements to develop his own. Evoking the lopsided walk of primitive man or even Saint Vitus’ dance of fools, the first moments of Choré remind us that dance primarily obeys an urge. Maillot, pondering on the nature of this urge, asks himself whether through it we express our desire to rise into the air or to the contrary, to anchor ourselves more firmly to the ground? Faced with gravity, the dancer has a choice, to fight against this force or embrace it, a dilemma that has long served—particularly with the use of pointe —as a demarcation between the old and the new. Maillot transposes this debate in the world of musical theatre by comparing the light and elegant style of Fred Astaire to the furious and grounded pounding of Gene Kelly. Extending this original difference, the five sections of Choré present the major, recurring

antagonisms that trouble the world of dance, but which Maillot enjoys playing with. The role of the music, the relationship with the story, the connections with theatre, cinema and lit-erature are just some of the ancient arenas that he prefers to remodel in a laboratory open to all experiments. Choré plays the diversity card, but is not a blind attempt at reconciling or erasing the differences. It is simply the ironic observation that the constraints that we seek to shrug off are those that we will most surely find on our path. Pushing the boundaries of art only makes even those borders that we thought we had escaped more visible.

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About the Choreographer-Director

Jean-Christophe Maillot Rosella Hightower liked to say of her stu-dent Jean-Christophe Maillot, that his life was just a union of opposites. In fact, for the cur-rent choreographer-director of the Ballets de Monte-Carlo, dance combines with theatre, enters the ring under a big top, evolves into the arena of visual arts, is fuelled by the most diverse scores and explores different forms of literature... His repertoire of 80 ballets (35 created in Monaco) draws from the world of art in the broadest sense and each ballet is a sketch book which feeds the following work. Thus, over 30 years, Jean-Christophe Maillot has created an ensemble of 60 pieces ranging from great narrative bal-lets to shorter formats, and where multiple connections reflect a work which forms part of the history and diversity. Neither classical nor contemporary, not even between the two, Jean-Christophe Maillot refuses to adhere to one style and designs dance like a dialogue where tradition on pointes and the avant-garde are no longer mutually exclusive. Born in 1960, Maillot studied dance and piano at the Conservatoire National de Région de Tours, before joining the Rosella Hightower International School of Dance in Cannes He won the Prix de Lausanne in 1977 and hired by John Neumeier at the Hamburg Ballet, where he danced in principal roles as a soloist for five years. An accident brought his dancing career to an abrupt end. In 1983 he was appointed choreographer and director of the Ballet du Grand Théâtre de Tours, which later became a National Cen-tre of Choreography. He created around 20 ballets for this company and in 1985, founded the Le Chorégraphique dance festival. In 1987, he created Le Mandarin Merveilleux for the Ballets de Monte-Carlo, which was a great success. He became the company’s artistic advisor for the 1992-93 season and was then

appointed director-choreographer by H.R.H. the Princess of Hanover in September 1993. His arrival at the Ballets de Monte-Carlo set the company on a new path that quickly developed the level of maturity and excellence for which this company of 50 dancers has been renowned for 20 years. He has created almost 40 ballets for the company, some of which, such as Vers un pays sage (1995), Romeo and Juliet (1996), Cinderella (1999) La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007), LAC (2011), Choré (2013) and Casse-Noisette Compagnie (2013) have forged the reputation of the Ballets de Monte-Carlo across the world. Several of these works are now included in the repertoires of major international ballet companies, including the Grands Ballets Canadiens, the Royal Swedish Ballet, the Korean National Ballet, the Stutt-gart Ballet, the Royal Danish Ballet, the Bal-let du Grand Théâtre de Genève, the Pacific Northwest Ballet, the American Ballet Theatre and the Béjart Ballet Lausanne. In 2014, he created La Mégère Apprivoisée for the Ballet of Bolshoi Theatre. Also aware of the work of other artists, Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the com-pany. In 2000, this same desire to present the choreographic art in all its many forms led him to create the Monaco Dance Forum, an international showcase for dance which pres-ents an eclectic proliferation of shows, exhibi-tions, workshops and conferences. In 2007, he produced his first stage opera, Faust for the Hessisches Staatstheater and in 2009 Norma for the Monte-Carlo Opera. In 2007, he created his first choreographic film with Cinderella then Le Songe in 2008. In 2009, he developed the content and coordinated the Centenary of the Ballets Russes in Monaco, which would see over 50 companies and cho-reographers pass through the Principality in one year, providing entertainment for 60,000 audience members. In 2011, dance in Monaco underwent a major and historical change. Under the presidency of H.R.H. the Princess of Hanover, the Ballets de Monte-Carlo now incorporates the Ballets de Monte-Carlo Company, the Monaco Dance Forum and the Princess Grace Academy under a single organ-isation. Maillot was appointed head of this

organisation which now unites the excellence of an international company, the benefits of a multi-format festival and the potential of a high-level school. Maillot is Commander in the Ordre du Mérite Culturel of the Principality of Monaco, Commander of the Ordre des Arts et Lettres and Chevalier of the Légion d’Honneur in France. On November 17, 2005, he was appointed Chevalier of the Ordre de Saint Charles by H.S.H. Prince Albert II of Monaco. In 2008, in Moscow, he received the Prix Ben-ois de la Danse for the Best Choreographer along with the “Premio Dansa Valencia 2010.” In 2015, he won three Russian Golden Mask awards, including Best Performance for La Mégère Apprivoisée.

Jean-Christophe Maillot

About Les Ballets de Monte-CarloThe Anchoring of Dance in Monaco: Russian Ballet

1909 marks the beginning of a strong pres-ence of choreographic art in Monaco. Serge de Diaghilev presents his Russian Ballet in Paris for the first time. They set up in Monte-Carlo, which becomes their creative workshop for the next two decades. Since the Principality, Diaghilev has reformed ballet in his time in all its forms. Upon his death in 1929, the com-pany was dissolved. Several personalities and choreographers revived it under various names but it disappeared completely in 1951.

The Birth of the Current Monte-Carlo Ballet Company

In 1985 the Monte-Carlo Ballet Company is created by the of H.R.H. the Princess of Hanover to fulfil the wish of her mother, Princess Grace of Monaco, to establish this dance tradition in Monaco. The new company was directed by Ghislaine Thesmar and Pierre Lacotte, then by Jean-Yves Esquerre.

The Rapid Expansion of the Company

In 1993 H.R.H. the Princess of Hanover nominates Jean-Christophe Maillot as the head of the Monte-Carlo Ballets. Backed by experience as a dancer from Rosella Hightower and John Neumeier, and as choreographer-director of the National Choreographic Centre of Tours, Maillot takes his turn in the company. He creates more than 30 ballets for the company, including several which enter the repertoire of large international companies. The Monte-Carlo Ballets’ works are now in demand through-out the world thanks to the iconic works of Jean-Christophe Maillot, including Vers un pays sage (1995), Roméo et Juliette (1996), Cendrillon (1999) La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007) and LAC (2011). Maillot also enriches the company’s rep-ertoire by inviting the major choreographers of our time as well as enabling emerging choreographers to work with this exceptional tool, which are the 50 dancers of the Monte-Carlo Ballets. Among these guest choreog-raphers are Sidi Larbi Cherkaoui, Shen Wei, Alonzo King, Emio Greco, Chris Haring,

Marco Goecke, Lucinda Childs, William Forsythe, Jiri Kylian, Karole Armitage, Maurice Béjart and even Marie Chouinard. In 2000, Maillot creates the Monaco Dance Forum, an international window to dance that presents an eclectic fusion of spectacles, exhibitions, workshops and conferences. The company regularly participates in this festival and the Académie Princesse Grace.

The Future of Monte-Carlo Ballet

In 2011, under the chairmanship of H.R.H. the Princess of Hanover, a new struc-ture directed by Maillot reunites these three institutions: The Monte-Carlo Ballets cur-rently concentrates on the excellence of an international company, the assets of a diverse festival and the potential for a school of a high level. Creation, training and production are currently reunited in Monaco to serve choreography in an unprecedented manner in the world of dance.

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Choré* *8 Pages

CHOREOGRAPHY, JEAN-CHRISTOPHE MAILLOT

ARGUMENT & TEXTSJean Rouaud

STAGE DESIGN & LIGHTINGDominique Drillot

COSTUMES Philippe Guillotel

MUSICDanny Elfman

Bertrand MaillotYan MareszJohn Cage

Daniel Ciampolini

MAILLOT EXPLORES THE HOLLYWOOD MUSICALCOMPLETE COVERAGE BEGINS ON PAGE 2

A NEW CHOREOGRAPHIC WORK FOR LES BALLETS DE MONTE CARLO!

CONTENTSCOVER

Maillot explores the Hollywood musical

PAGE 2Synopsis in five tableaux

CENTRAL SECTIONFirst reflections

PAGE 6Understanding our desire to dance

PAGE 7Backstage with the Choré artisans

PAGE 8Biographies

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SÉQUENCE 1(Splendour & miseries)

MusicSERENADA SCHIZOPHRANA (extracts)

DANNY ELFMAN

“ As if it was not enough to putone foot in front of the otherWe deviated from our course

with a light side stepStraying from the straight and narrow, alwaysthe shortest route from one point to anotherWhen there are thousands of other points,

as many crossing points to elsewhere.As if our side steps, hops and skips,

were vain attempts to prolong our journeyIn other words, our lifetime

In no hurry to yield to our fateBy twists, turns and volte faces

Postpone our time of deathThe point in time when we are finally forced to stop.

Not yet! Just a little longer! Let’s try one moreStep. Tracing in the dust

A graceful arabesque, beaming with the movement of joy.

Then a nimble jump -to escape, once more, the fetters of gravity,

weight of the world with its cortege of depressionand bodies in rags,

enduring famine and winter,truck laden high with the grapes of wrath -

- an attempt to break free from the gloom and doomshare the fate of the birds. To soar on high

for the space of a moment.Transcend our human condition,

break free from our lot that weighs heavier than air,like an incessant rain:

fall-out of tears, shower of ashes.In a kick of a heel, attempt

to inverse the course of our lives,raise our drowned hopesfrom all those sea beds,

promising us, in our celestial ascension,that we will

Live like angels.”

WHEN EVENTS ARE SUPERIMPOSED, LIKE PHRASING ON AN ORCHESTRAL SCORE – THE BEST WAY OF HEARING THE MUSIC OF THE WORLD – IT BECOMES OBVIOUS THAT THE GOLDEN AGE OF THE HOLLYWOOD MUSICAL WHICH BREATHED LIFE INTO AN ELEGANT, ETHEREAL VIEW OF LIFE WAS A PRODUCT OF THE GREAT DEPRESSION. IT WAS A TIME OF HORDES OF DRIFTERS AND VAGRANTS STRAIGHT OUT OF THE FILM “THEY SHOOT HORSES, DON’T THEY?” WHICH DEPICTED THE INFAMOUS ABATTOIR-LIKE DANCE COMPETITION MARATHONS WHERE COUPLES ALREADY EXHAUSTED BY DEPRIVATION DANCED UNTIL THEY WERE DEAD ON THEIR FEET IN THE HOPE OF WINNING A MONEY PRIZE. DANCE HAS BECOME SYNONYMOUS WITH THE HOPE OF SALVATION VISIBLE IN BOTH THE AERIAL GRACE OF DUO FRED ASTAIRE AND GINGER ROGERS AND THE DESPERATE QUEST FOR A FEW DOLLARS ON THE DANCE HALL FLOOR. DANCING IN THE FACE OF THE MISERIES OF THE TIME IS AN INNOCENT RESPONSE. WE’RE NOT NOSTALGIC FOR THE BAD OLD DAYS RATHER AN ERA WHEN DANCE STILL BELIEVED IN THE BEAUTY OF GESTURE.

CHORE: SYNOPSIS IN FIVE TABLEAUX

LOOK AT THE GLOBAL PICTURE. WHAT’S HAPPENING IN HOLLYWOOD, WITH ITS GIRLS IN A PERFECT CHORUS LINE LIFTING THEIR LEGS IN UNISON, GIVING A MILITARY SALUTE WITH A WINK, LOOKS UNCANNILY SIMILAR TO THE GREAT ORCHESTRATED RALLIES ORGANISED WITH MILITARY PRECISION IN NUREMBERG, ON RED SQUARE OR IN ROME, FILMED FOR PROPAGANDA PURPOSES BY LENI RIEFENSTAHL. QUESTION: COULD HOLLYWOOD WIN THE WAR AGAINST SUCH IMPOSING KILLING MACHINES? ANSWER: YES!

SÉQUENCE 2Silence! Action!

MusicORGINAL COMPOSITION

BERTRAND MAILLOT

SÉQUENCE 3War is declared

MusicORIGINAL COMPOSITION

YAN MARESZ

AN INCREDIBLE PHOTO OF AMERICAN OFFICIALS CUTTING A CAKE IN THE SHAPE OF AN ATOMIC MUSHROOM CLOUD, CONGRATULATING THEMSELVES ON THE AMAZING INVENTION THAT DECIMATED TWO CITIES IN JAPAN AT THE SPEED OF LIGHT. WE ALL KNOW THE ARGUMENTS IN FAVOUR OF THE BOMB BUT THERE WAS NO NEED TO BAKE A CAKE TO CELEBRATE.

24 October 1929 aka “Black Thursday”. The Stock market opens but the buyers have vanished. Prices collapse, creating a wave of panic. The whole country sinks into the Great Depression

PANIC!Wall Street’s blackest day

CHOREOGRAPHER JEAN-CHRISTOPHE MAILLOT IS WELL KNOWN FOR REVISITING SWAN LAKE IN 2011 AND THE WAY IN WHICH HE SHONE A NEW LIGHT ON THE ICONIC BALLET, FUSING HIS VISION WITH THAT OF WRITER JEAN ROUAUD. FOR CHORÉ, THE TWO ACCOMPLICES JOINED FORCES ONCE AGAIN TO WORK ON A SHARED PASSION: THE HOLLYWOOD MUSICAL. AFTER A SERIES OF WORKING SESSIONS, THE ARTISTIC DUO CAME UP WITH THE IDEA OF A BALLET IN FIVE TABLEAUX.

TEXT BY JEAN ROUAUD

The unemployment rate approaches 25% yet the American ci-nema of the 1930s is seen as the Golden Age of the great studios.

PAGE 2* *

On the film set, a madcap director (in abundance in Hollywood) is preparing to shoot a Hollywood musical entitled: The Wings of Love. Is war coming? The tone is resolutely melodramatic. The storyline? An air force pilot falls in love with a beautiful stranger he meets on the sweeping staircase of a luxury apartment block. Unfortunately, war is declared and the beautiful woman has to return to her own country that the pilot is about to bomb on a raid. Sometimes life is not so simple. Especially as the two stars, supposedly hopelessly in love, can’t stand the sight of each other.

World War II in sound bites.

***“Now, Europe will be at peace for a

thousand years”

(Hitler speaking in 1938 after the Munich meeting with Chamberlain and Daladier in which the latter granted him the right to annexe part of Czechoslovakia.)

***“Ah the fools, if only they knew”

(Spoken by the same Daladier on retur-ning from Munich acclaimed as a saviour by an enthusiastic crowd at Le Bourget.)

***“I have nothing to offer but blood, toil,

tears and sweat”

(Churchill’s speech to the House of Com-mons, on 13 May 1940))

***“If this is a man”

(Title of the book by Primo Levi, in which he tells the story of his incarceration in Auschwitz. The exact translation of the Italian title is more like: “If you can call that thing a man”. In other words so-mething which resembles a man but not in my eyes. In the eyes of the Nazis naturally.

***

« Les sanglots longs des violons

de l’automneblessent mon coeur

d’une langueurmonotone »

(The long sobs of the violins of autumn wound my heart with a monotonous languor) (Coded message quoting a refrain from a Verlaine poem sent by Radio-London to an-nounce the imminent landing, a message in which the speaker took the trouble to say: “I repeat”.)

***“Now we are all sons of bitches”

(Words whispered in Oppenheimer’s ear by physician Kenneth Bainbridge after the explosion of the first atomic bomb in the New Mexico desert.)

*** “It is a shameful thing to win a war”

Last sentence of the novel The Skin by Malaparte, who, after serving as war correspondent for Mussolini’s government went on to help the Americans in their conquest of Italy.

***“Within our darkness there is not one

place for Beauty. The whole place is for Beauty.”

One of René Char’s aphorisms in Les Feuilles d’Hypnos (Leaves of Hypnos) written when he commanded an important maquis resistance unit in the Luberon under the codename Capitaine Alexandre.

***We could also have shown an amazing film clip a few seconds long of Fred Astaire in an American army uniform, performing a delicious kerbside dance move on the rue de Rivoli, Paris.

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SÉQUENCE 4Landscape of ashes

Music:IN A LANDSCAPE (extracts)

JOHN CAGE

POST-WAR DUTY DICTATES A PHOENIX-LIKE RISE FROM THE RUINS, ACHIEVED AT GREAT SPEED BY GERMANY, JAPAN. FRANCE AND ENGLAND ARE ALSO QUICK TO ERASE THE SCARS OF MASS BOMBINGS. BUT WHAT ABOUT ALL THOSE WHO DISAPPEARED IN THE NUCLEAR INFERNO AND IN THE GAS CHAMBERS, UNDER A CARPET OF PHOSPHOROUS BOMBS OR WERE BURNED ALIVE IN A CHURCH? WHAT ABOUT THE MINDS WHICH PROVOKED SUCH AN AUTO-DA-FÉ OF BODIES? WHAT ABOUT OUR MEMORIES NOW BURDENED WITH SUCH IMAGES OF DEATH? HOW COULD WE EVER HOPE TO REGAIN THE VERTIGINOUS HEAVENWARDS THRUST THAT PROPELLED FRED ASTAIRE THROUGH THE AIR AS LIGHT AS A BIRD? THE VERY SKY IS FALLING. THE HOLLYWOOD MUSICAL MAKES A FORCED LANDING, COMES BACK DOWN TO EARTH WITH A BUMP, FACED WITH THE DEVASTATING EFFECTS OF REAL LIFE. TOP HAT AND TAILS ARE ABANDONED IN FAVOUR OF OVERALLS AND MARINE UNIFORMS. DANCE QUITS THE FILM SET FOR THE STREET WHERE GENE KELLY TAP DANCES IN THE PUDDLES, FINDING HIS FOOTING ON THE SOLIDITY OF LIQUID GROUND, ALL THAT HE HAS LEFT, MERRILY DRUNK UNDER THE ENDLESSLY FALLING RAIN. THIS IS THE “FALL OUT” OF THE WAR: DRUNK ON LOVE AND FEELING ALIVE.

SÉQUENCE 5After the dance,

there is yet more dance

“As if we were right to fearThe sky would fall on our heads,

We now walk on heaven as though onBroken glass,

Light, travelling at the speed of leadHas fixed our shadow onto a ladder of death.We now live under a regime of eternal rain

Rains of names written on the smokeAnd wind

Rains, hard to swallow, clogged with memorieswith lowered metal eyelids

Rains of feather and tarsticking us to the ground like oil-soaked birds

Sentencing our Chaplinesque attempts at flightDamning us back to earlier times where

a chink of lightAnd heart which leapt for joy sufficed

To attain the status of heavenly creaturesWhere once a heel kick would do

Today it merely digs our tombs deeperAnd we ask ourselves, with a sense of horror… How?

Yes, how?The part of us which aspires to greater things,

Has been ravished from us,After falling asleep dreaming under a shower of stars”

Photograph published on 7 November 1946 in the Washington Post. An evening event organised to celebrate the dissolving of Task Force Number One which had organised and supervised the first nuclear tests in the Pacific after Hiroshima and Nagasaki.

Shadows left by a disintegrated human body & ladder in Hiroshima. Photo E. Matsumoto.

PAGE 3 * *

WARIS DECLARED!

“For sake of argument let’s call him Fred. He’s getting on a bit, awarded an honorary statue for a lifetime career. It’s not a good sign. It means that he’s past his prime. We will have to do without him now. The award is his invitation to take a final bow. As soon as he comes off the stage, trophy in his hand, the curtain will fall and it will be the end of his flights of fancy in which he defied the gravity of the world. But before we get rid of our dance master once and for all, we ask him politely about his health, whether he still dances. Looking crestfallen, he says he would like to explain a step, jumping up immediately to demonstrate, a whirlwind of arms and legs. Once he has finished, he looks down in the mouth again and says “Oh well, I just can’t seem to do it these days” - his polite way of saying “After the dance, there is yet more dance”.”

Music & interpretationORIGINAL COMPOSITION

DANIEL CIAMPOLINI

Shadow left by a woman sitting on a step waiting for the bank to open at the time of the explosion.

LANDSCAPE OF ASHESWatch stopped at the

time of the explosion

Detonation of “Little Boy” above Hiroshima

DANCE HAS BEEN FORCED TO UPDATE ITSELF LIKE THE OTHER CREATIVE FIELDS. POLLOCK ALLOWED HIS DROPS OF PAINT TO FALL RANDOMLY ON A CANVAS ON THE GROUND, REPRODUCING THE GESTURE OF THE BOMBERS - MODIFYING THE LANDSCAPE – OR CANVAS – WITHOUT ANY DIRECT CONTACT, INSOUCIANTLY, FROM ON HIGH. POLLOCK MIGHT LOOK DOWN GOD-LIKE BUT DANCE, FLIGHTLESS, IS GROUNDED. IT HAS FALLEN BACK DOWN TO EARTH WITH A BUMP, AMIDST THE CRUSHED BODIES, (AN EXAMPLE IS THE FABULOUS FINAL SCENE IN BAND WAGON, IN WHICH AN AGING FRED ASTAIRE IS FORCE TO ACT LIKE A FLOPPY, INARTICULATE RAG DOLL, DECONSTRUCTING EVERYTHING THAT HE WAS FAMOUS FOR BEFORE OUR VERY EYES). VISIBLY THE TIME IS NO LONGER RIPE FOR GRACEFUL ENTRECHATS OR PAS DE DEUX. SO WHAT DO WE DO? WE LISTEN TO THE SILENCE AFTER THE ROAR. WE LISTEN TO OUR BEATING HEARTS AND ACCOMPANY THEM LITTLE BY LITTLE BY TAPPING OUR FOOT. WE SOON FEEL OUR LEGS START TO TWITCH RESEMBLING AN ANCIENT, PRIMORDIAL, ESSENTIAL, VITAL FORM OF DANCE.

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PAGE 4* *

FIRST

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PAGE 5 * *

REFLEXIONS!

PHOTOGRAPHIES DE RÉPÉTITIONS : ALICE BLANGERO

10101010

Choré is also a reflection on the role of dance in the United States during the Great Depression. This triumphant era of the Hollywood musical leads the choreographer to question the evolution of dance and his obsession with attempts at escapism, the fight between old and new. What does dance feed on? How far can it be liberated? At what point does it claim its share of beauty, humour and the past to still feel alive? The world of Hollywood musicals offers a valuable insight into the response and Jean-Chris-tophe Maillot is able to take many of its elements to develop his own. Evoking the hip swaying gait of primi-tive man or St Vitus’ dance, the opening moments of Choré remind us that above all dance obeys an impulse. Jean-Chris-tophe Maillot questions the nature of the latter, wonders if through it we express our desire to soar on high, or, on the contrary, be more grounded? Confron-ted with gravity, the dancer has a choice: fight against the force or go with it – a dilemma which has long served, in par-ticular with respect to the use of point shoes, as a demarcation line between old and modern. Jean-Christophe Maillot transposes this debate into the world of the Hollywood musical, comparing the light, elegant style of Fred Astaire to the frenetic tap dancing of Gene Kelly.Prolonging this original divergence, in Choré’s five sequences Jean-Christophe Maillot playfully explores the great an-tagonistic forces which have shaken up the world of dance in a recurring man-ner. He attempts to rehabilitate the role

CHORE: UNDERSTANDING OUR DESIRE TO DANCE

of music, relationship with History, links with theatre, cinema, and literature in an experimental laboratory. Choré plays on diversity but does not attempt blind reconciliation or to elide differences. It simply makes the ironic observation that the constraints it seeks to rid itself will merely be encountered along the way. Pushing the boundaries of art merely serves to render the frontiers we believe to have left behind ever more evident.

BROADWAY TAP DANCING

& TOP HATS PROHIBITED

JEAN-CHRISTOPHE MAILLOT’S WORK DOES NOT SET OUT TO BE A LITERAL ILLUSTRATION OF THE HEYDAY OF TAP DANCE AND BROADWAY. THERE ARE NO TOP HATS AND TAILS ON THE BILL. AL-THOUGH “CHORE” EVOKES CERTAIN ASPECTS OF THE HOLLYWOOD MUSICAL, IT DOES NOT SET OUT TO REPRODUCE ITS CODES. THE PRIN-CIPLE IS TO REPRODUCE THE SPIRIT THAT AC-COMPANIED ITS CREATION AND DEVELOPMENT.

“The evidence is plain to see. Simply watch the Hollywood musicals from the time. Between the1930s and 1950s, dance, a certain notion of dance in any case, attempted to demonstrate on screen that it could blithely ignore the horrors on earth, float gracefully high above the world - over abysses such as the Great Depression, Pearl Harbour, Auschwitz, Hiroshima, the Cold War - before the horrors of reality forced it to crash land, renew contact with an ugly world. This is expressed in the duel between aerial Fred Astaire and terrestrial Gene Kelly, the change of clothing from top hat to marine uniform. Later on contemporary dance expressed this idea on stage in the form of dehumanised bodies, crawling rather than floating, in tune with a dark century, renouncing once and for all the flights of fancy, our piece of heaven and hope. From this perspective the history of the American Hollywood musical can be read as an allegory of dance, a whistle-stop compendium of the history of dance in a sequence of tableaux, which boils down to the following question: Does dance engage with the world a little, a lot, passionately, madly? Without doubt we humans foolishly think so. The last option – not at all – being one of rejection. Dance and its whirlwind of bodies is doubtless the oldest manifestation of our aspiration to aspire to greater things.”

Dance marathons during the Great Depression: while Hollywood churns out Hollywood musicals at a rate of knots hiring vast amounts of people, the under privileged take part in dance competitions lasting several days which guarantee them a meal.

“CHORE’s” central argument by Jean Rouaud

PAGE 6* *

CHORÉ REPRESENTS JEAN-CHRISTOPHE MAILLOT’S DEPARTURE FROM REINTERPRETING THE GREAT BALLETS OF THE REPERTOIRE. HIS NEW WORK IS ABOUT CONTEMPORARY HISTORY - AND DANCE – EXPRESSED THROUGH THE EMERGENCE OF THE HOLLYWOOD MUSICAL IN THE UNITED STATES

“BACK STAGE COMEDIES”, DANCE OF DESPAIR?The premises of the American Hollywood musical can only be understood in light of the economic context of 1929. The stock market crash marks a resounding end to the prosperity of the 1920s and propels the whole world into a period of anxiety which reaches its peak in

1933, the year in which Roosevelt takes over from Hoover and Hitler rises to power in Ger-many. The 1933 film Gold Diggers by Busby Berkeley starring Ginger Rogers is one of the most eloquent representations of this. Rarely had a Hollywood musical been so inspired by

the global recession. Moreover the film symbo-lises what would come to become commonly known as the “Backstage Comedy”. The latter systematically tell the story of a director who encounters problems finishing his film. Pro-tagonists fighting to stage a music hall revue

join in unison with an entire people working to reconstruct the country. As the word “END” appears in crossfade over cohorts of soldiers leaving for war, the film deliberately releases the terrible stench from the breeding ground in which the Hollywood musical flourishes.

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BACKSTAGE WITH THE CHORÉ ARTISANSJEAN-CHRISTOPHE MAILLOT HAS EXTENSIVE EXPERIENCE IN ARTISTIC COLLABORATION. HE DELIVERS ANOTHER NEW HIGH LEVEL COLLABORATIVE TEAM: JEAN ROUAUD - ARGUMENT, DOMINIQUE DRILLOT - LIGHTING, PHILIPPE GUILLOTEL – COSTUMES, MUSIC - WORKS BY DANNY ELFMAN, BETRAND MAILLOT, YAN MARESZ, DANIEL CIAMPOLINI…

I spoke to Jean-Christophe for the first time about a ballet on the theme of the Hollywood musical four years ago. I was delighted to see that he was instantly

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The Hollywood musical is a world that I have always loved as it is rich in costumes and scenery. However, after attending the first rehearsal, I soon understood that we were not going to make a Hollywood musical but use the latter as a pretext to reflect on the birth and evolution of dance. On reading Jean Rouaud’s argument, it suddenly occurred to me that when the ape stood up on its hind legs it might have been trying dance. After all isn’t walking merely an accident of evolution? Choré is a complete show which demands a great deal of precision because it is deep and restrained. It exhumes memories associated with Hollywood musicals with delicate subtlety. We are not overwhelmed by a frenzy or orgy of detail. Initially, the costumes serve

“THE COSTUMES EXPRESS THE EVO-LUTION OF PHOTOGRAPHY. WE START IN SEPIA AND FINISH IN COLOUR.”

to conjure up a quasi “moth-balled” evocation of ghosts of the past. Then they become more exuberant in the tableau devoted to Hollywood. But once again, an important tone of gravity is conserved as white ostrich feathers take on the shape of an atomic mushroom cloud. War makes its stage entrance. From this point on, the costumes become negations of the body: busy stripes interfere with body image to the point of rendering it illegible. Then, Jean-Christophe proposes an incredibly light tableau in which the dancers move between heaven and earth. The costumes are made from light materials evoking weightlessness. The ballet’s finale is a celebration of dance as a source of pleasure. The dancers move about feverishly and the costumes are colourful. On closer inspection, the ballet’s costumes trace the evolution of photography. Starting in sepia and ending in colour.

«I ORIGINALLY COMPOSED SERENADA SCHIZOPHRANA AS A CONCERT PIECE WHICH DEBUTED AT CARNEGIE HALL. I’M EXTREMELY HONORED THAT LES BALLET DE MONTE CARLO HAS DECIDED TO INCLUDED PORTIONS OF IT AS SOMETHING REINTERPRETED FOR DANCE. AND I COULDN’T BE MORE PLEASED THAT A WORK OF MINE HAS INSPIRED OTHERS TO CREATE THEIR OWN ART, PARTICULARLY WITH SUCH A PRESTIGIOUS AND RESPECTED GROUP AS THIS. I LOOK FORWARD WITH GREAT ANTICIPATION TO THIS EVENT.» My starting point were the similarities in

form between Les Artisans in the Ballet Le Songe (performing the play “Pyra-mus & Thisbe”) and the director sur-rounded by all his actors/dancers who appears in Choré’s second sequence de-voted to Hollywood. The artisan works for the great studios. Plunged into an ef-fervescence world of filming and casting calls he fights to get the film “The Wings of Love” made before our very eyes. The parody aspect is clearly present but in my music I opted for abundant lyri-cism, excessive enthusiasm, naïve since-rity unfiltered by the usual self-imposed constraints.

“IT IS DIFFICULT TO COMPOSE MUSIC THAT CONJURES UP HOLLYWOOD WITHOUT BEING SEDUCED BY A CERTAIN FORM OF ORCHESTRAL GRANDEUR”.

“WAR IS THE EPITOME OF OUR PARADOXICAL HUMAN NATURE: AN APPETITE FOR GRANDEUR PLAYED OUT AGAINST AN ENDLESS FALL”.

“Choré” raised the following issues: how to create a sense of theatre and production of images, how to recreate the film-like quality of the H o l l y w o o d

YAN MARESZ- Composition for sequence 3 -

PHILIPPE GUILLOTEL- Costumes -

For his finale Jean-Christophe Maillot wanted pulsation and rhythm devoid of melody or harmony. These two mu-sical fundamentals are essential to all construction or reconstruction. I wanted to symbolise a field of nuclear radiation at the beginning of the finale using sounds which make one think of static circulating in the air, or the crackling sound of a neon light coming on. The electrical noises are transformed into pulsation, then rhythm. Time re-starts, life re-starts, albeit doubt-less in another way, but life adapts. It will adapt to this new constraint and make it its own. Drums and percussion instru-ments will give birth to pulsation and rhythm bringing about the renaissance of time, where everything starts anew.

Jean-Christophe asked me to work on the section of his ballet which deals with war. There is something irrational and inexplicable about the fact that we wipe each other out. We reproduce but at the same time, as though in our DNA, we have a propensity to cause the number of people alive to fall brutally. This absurd situation inspired my composition. I wanted to reproduce this paradox re-using the com-puter sound model that Jean-Claude Risset created using paradoxical sounds in the sixties. Reusing his programmes, I created textures, structures which

evolve over time to give an ama-zing aural impression of “sound falling” indefinitely like the whistling of a bomb that never reaches the ground.

interested, whereas other choreographers would have pulled a face, expressing their disdainful belief that there is no comparison between apples and oranges. Jean-Christophe was of the same opinion as Balanchine who claimed that Fred Astaire was the greatest dancer the world had ever seen. I can see him now happily watching his favourite sequences of “You’ll new get rich” or “Band Wagon”. The project has been in gestation for such a long time because it was not simply a matter of telling the history on stage (the Hollywood musical, widely considered to end with Silk Stockings, spans some of the greatest tragedies of the century – which alone makes it a genre worth re-visiting). It is a tribute which is not a pastiche, plus a narrative combining two opposing principles with the demands of contemporary dance. For example, one issue was whether or not to use images, texts, quotations. Should one follow a character who is a sort of Fred Astaire clone? To what extent can one stage something that has already been done? A slow maturation process culminated in Choré which can also be interpreted as Jean-Christophe Maillot’s take on choreographic art – in the same way as we speak about poetic art.

JEAN ROUAUD- Argument -

DOMINIQUE DRILLOT- Stage design & Lighting -

BERTRAND MAILLOT- Composition for sequence 2 -

DANIEL CIAMPOLINI- Composition for sequence 5 -

musical on stage? A multi-facetted approach was called for. I use the tools of the stage to talk about film. I get rid the stage of its dark, heavy curtains. I replace them with elegant translucent, sequined organdie curtains. The theatre stage looks like a film set. The endless folds part. The brilliance of the generous curves reveals a classic pas de deux. The lit props, born out of an encounter of film lights and vintage theatre projectors, move and transform the spaces, following the choreographic moves. The five tableaux appear, lighting up the stage little by little. The scene change system used involves an abstract set. It does not tell an exact story rather it knows how to fade into the background allowing the moments in history that the choreographer has chosen to show us stand out. It needs to be interpreted like a holographic image whose focal point shifts to the far side during the course of the action. Occasionally, this simple system is enriched by a few surprises such as the appearance of a mirror…

DANNY ELFMAN- Sequence 1 music -

Precisely what makes Serenade Schizophrana by Danny Elfman so fitting for Jean-Christophe Maillot’s project? Not least because his music contains an unrivalled balance of gravity and humour. Tim Burton, who swears by him as a composer, was not mistaken. Danny Elfman is the ideal composer for situations at first glance laughable but which make us grind our teeth on closer inspection.…In short, the very essence of narration according to Jean-Christophe Maillot: all stories have a dark side that we generally prefer to leave hidden. Danny Elfman’s serious, deep music lays it bare like no other.

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Over the last 30 years, four-time Oscar nomi-nee Danny Elfman has established himself as one of the most versatile and accomplished film composers in the industry. He has col-laborated with such directors as Tim Burton, Gus Van Sant, Sam Raimi, Paul Haggis, Ang Lee, Rob Marshall, Guillermo del Toro, Brian De Palma, and Peter Jackson. Beginning with his first score on Tim Burton’s Pee-wee’s Big Adventure, Elfman has scored a broad range of films, including: Milk (Oscar nominated), Good Will Hunting (Oscar nominated), Big Fish (Oscar nominated), Men in Black (Oscar nominated), Edward Scissorhands, Wanted, Charlie and the Chocolate Factory, Mission: Impossible, Planet of the Apes, A Simple Plan, To Die For, Spider-Man (1 & 2), Batman, Dolores Claiborne, Sommersby, Chicago, Dick Tracy, The Night-mare Before Christmas and Alice in Wonderland. Most recently he provided the music for Gus Van Sant’s Restless, Shawn Levy’s Reel Steel, and David O’ Russell’s Silver Linings Playbook, as well as Men In Black 3 and Tim Burton’s Dark Shadows and his black and white stop-motion animated feature Frankenweenie, Gus Van Sant’s Promised Land and Sasha Gervasi’s Academy Award nominated film Hitchcock. Elfman’s most recent pro-jects include Sam Raimi’s Oz: The Great and Powerful and Chris Wedge’s animated film Epic.A native of Los Angeles, Elfman grew up loving film music. He travelled the world as a young man, absorbing its musical di-versity. He helped found the band Oingo Boingo, and came to the attention of a young Tim Burton, who asked him to write the score for Pee-wee’s Big Adventure. (25 years later, the two have forged one of the most fruitful composer-director colla-borations in film history.) In addition to his film work, Elfman wrote the iconic theme music for The Simpsons and Desperate Housewives. He also composed a ballet, Rabbit and Rogue, choreographed by Twyla Tharp, a symphony Serenada Schi-zophrana for Carnegie Hall, an overture The Overeager Overture for the Hollywood Bowl, and, most recently, Iris—a Cirque du Soleil show at Hollywood’s Dolby Theatre. Danny Elfman’s music from the films of Tim Burton will be having its concert premiere at London’s Royal Albert Hall. “Having a particular style is not bad,” says Elfman, “but I prefer to push myself in the direction of being a composer who you never know what he’s doing next.”

JEAN-CHRISTOPHE MAILLOT

JEAN ROUAUD

DOMINIQUE DRILLOT

PHILIPPE GUILLOTEL

YAN MARESZ

BERTRAND MAILLOT

DANNY ELFMAN

BIOGRAPHIES

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Rosella Hightower liked to say of her student Jean-Christophe Maillot, that his life was just a union of opposites. In fact, for the current Choreographer-Director of the Bal-lets de Monte-Carlo, dance com-bines with theatre, enters the ring

under a big top, evolves into the arena of visual arts, is fuelled by the most diverse scores and explores different forms of literature... His repertoire draws from the world of art in the broadest sense and each ballet is a sketch book which feeds the following work. Thus, over 30 years, Jean-Christophe Maillot has created an ensemble of sixty pieces ranging from great narrative ballets to shorter formats, and where multiple connections reflect a work which forms part of the history and diversity. Neither classical nor contemporary, not even between the two, Jean-Christophe Maillot refuses to adhere to one style and designs dance like a dialogue where tradition on pointes and the avant-garde are no longer mutually exclusive. His arrival at the Ballets de Monte-Carlo set the company on a new path that quickly developed the level of maturity and excellence for which this company of 50 dancers has been renowned for 20 years. He has created almost 30 ballets for the company, some of which, such as Vers un pays sage (1995), Romeo and Juliet (1996), Cinde-rella (1999) La Belle (2001), Le Songe (2005), Altro Canto (2006), Faust (2007), LAC (2011) have forged the reputation of the Ballets de Monte-Carlo across the world. Also aware of the work of other artists, Jean-Christophe Maillot is known for his spirit of openness and his commitment to inviting choreographers with a different style to create for the company. In 2000, this same desire to present the choreographic art in all its many forms led him to create the Monaco Dance Forum, an inter-national showcase for dance. Under the presidency of H.R.H. the Princess of Hanover, the Ballets de Monte-Carlo now incorporates the Ballets de Monte-Carlo Company, the Monaco Dance Forum and the Princess Grace Academy under a single organisation. Jean-Christophe Maillot was appointed head of this organisation which now unites the excellence of an international company, the benefits of a multi-format festival and the potential of a high-level school.

After gaining his arts degree, Jean Rouaud worked in various low-paid jobs. In 1978, he joined ‘Presse Océan’ and was soon writing articles for the newspaper’s front page. He then went to Paris. In 1990, he published his first novel, «Fields of Glory», a

masterpiece for which he soon won the «Goncourt» Prize. Deeply affected by his father’s death on boxing day when he was eleven years old, then by that of his mother in 1997, before she was even able to read the lines that he had dedicated

to her in his latest novels, through his works, Jean Rouaud re-kindles this decimated family, through simple words and gentle reminders filled with mischief and affection. Since then, he has published around twenty books (translated into 29 languages), written theatre pieces, scripts, song lyrics, produced documentaries, etc. In 2007, he wrote the script for «Moby Dick» a cartoon illustrated by Densi Desprez and 2008 he published «La fiancée juive». This collection is accompanied by a CD featuring a blues song that he composed and perfor-med himself. In 2009, he published «La Femme Promise» and his latest novel, «Comment gagner sa vie honnêtement» was released in March 2011.

Born in 1959 in Tours, he studied the Fine Arts at the Beaux-Arts in Tours while, at the same time, working as assistant director, stage and accessories. In 1987, he created his first stage de-sign for Jean-Christophe Maillot (Thème et 4 Variations) with whom he has collaborated regularly. He has developped this collaboration with choreographers, working with such artists as Ramon Oller, Bruno Jacquin, Graham Lustig, Conny Jansen, Ted Brandsen and Josette Baïz, Ed Wubbe, Gian Franco Paoluzzi, Ginette Laurin, Renato Zanella, Ton Wiggers, Heinz Spoerli, Nils Christie, Kirsten Debroek, Miriam Dietrich. He has been invited to work with le Ballet du Nord, le Ballet de l’Opéra de Rome, le Lyon Opéra-Ballet, le Ballet du Grand Théâtre de Bordeaux, le Ballet de Stuttgart, le British Ballet Columbia, Introdans and les Ballets de Monte-Carlo, both as director and lighting designer. In October 2004, Dominique Drillot was officialy appointed as professor of scenography at the Ecole Supérieure des Beaux-arts of Monaco.

Born in Paris in 1955, Philippe Guillotel gave free rein to his passion for costume since his childhood, when he created his first collection for his teddy bear. By the beginning of the 1980s, he became stylist and “apartment couturier” for friends, while waiting for his first commission from “stars”. From his base in Montreuil, a company called “A bout d’habits,” he exchanged his scissors for a hacksaw or a blowtorch, and experimented with sheet metal, plastic, latex, lycra, tyvek (a textile used in surgery), and plastazot (an insulating material). Guillotel played at false perspective, changing scales, upsetting one’s vision of the world. Movement began to add to this aesthetic as the designer began to be asked to create costumes for dance performances, adver-tisements, and musical comedies like Starmania. He was also represented in the haute couture runway show of Valentin Ja-dashkin and Cirque 96 at the Cirque d’Hiver. Huge media events have marked Philippe Guillotel’s establishment as a designer of note: the parade at the bicentennial of the French Revolution, the Marseillaise, staged by Jean-Paul Goude in 1989, the opening and closing ceremonies of the Winter Olympics in Albertville in 1991-92 (for which he

Born in Monaco in 1966, Yan Maresz began his musical studies on piano and percussion then focused on the jazz gui-tar which he taught himself until he met John McLaughlin, for whom he was the only student, then the principal orches-

trator and arranger. He studied Jazz at the Berklee College of Music in Boston from 1983 to 1986 and gradually turned towards composition. In 1987, he received a scholarship from the Princess Grace of Monaco Foundation and entered the Julliard School in New York, where he studied composition with David Diamond. In 1994, he attended composition and computer music classes at Ircram, after which he wrote Metallics, a work selected by the International Rostrum of Composers of UNESCO in 1997.He has won various prizes and awards for his composition, notably the Trieste International Music Competition, the Prix Rossini of the Académie des Beaux-Arts and SACEM’s prix Hervé Dugardin and Young Composers award. He was a resident at the French Academy in Rome, Villa Medicis from 1995 to 1997, at the Europaïsches Kolleg der Künste in Berlin in 2004 and at the Civitella Ranieri Foundation in 2012.He receives many commissions and his works are regularly performed at major international festivals and feature in the seasons of prestigious symphony orchestras or ensembles in Europe, the United States and Asia. Since 2007, he has taught electracoustic composition and orchestration at the Conserva-toire National Supérieur in Paris. A CD of his works by the En-semble InterContemporain is available on the Accord/Universal label and his works are published by éditions Durand.

After studying percussion at the Conservatoire National de Région de Tours with Jacques Mercier then Phi-lippe Macé, Bertrand Maillot works as a percussionist in various ensembles, classical, jazz, and contemporary (En-semble franco-allemand de jazz with J-F Jenny-Clark, J-L Chautemps, and

DANIEL CIAMPOLINI

Born in Nice in 1961, Daniel Ciampolini began his percus-sion studies in his home town before moving to Paris, winning first prize at the Conservatoire National Supérieur de Musique, where he also learned harmony, orchestration and analysis.At the same time, he played the drums with his parents who were Cabaret musicians and who introduced him to Chanson and Jazz at a very early age. At 19, he was appointed as a soloist in the Ensemble InterContemporain by Pierre Boulez. There, he mixed with the greatest composers and found himself at the centre of contemporary music creation. In particular, he colla-borated with Iannis Xenakis, Philippe Hurel, György Ligeti and Gérard Grisey. In 2001, he left the Ensemble InterContemporain to concentrate on his solo repertoire and writing. He composed his first piece for vibraphone and harp, followed by a piece for a completely new instrument called «Hang» and finally a piece for kettledrums and electronics. He has composed music for several exhibitions and TV documentaries and performed as a percussionist on the most prestigious international stages, such as Carnegie Hall. He has played duets or chamber music with the pianists Maurizio Pollini, Pierre-Laurent Aimard, Kun Woo Paik, as well as with Michel Legrand and even Charles Aznavour. He was recently heard in an improvisation duo with Michel Por-tal at the Champs Elysées Theatre.He has been a guest on many radio broadcasts on France Musique. Finally, Daniel Ciampolini is passing on his art to the younger generations, during a series of lessons in numerous 20th-century Academies including Pa-ris, Helsinki, New York and Montreal.

A. Mangelsdorf, as well as François Couturier’s Groupe Impres-sion...).As composer, he works for la Comédie française with Nicolas Lormeau on : «Hernani» by Victor Hugo and «La Confession d’un enfant du siècle» by Musset (Théâtre du Vieux colombier), «Courteline» (at the Grand Guignol), «L’Ane et le ruisseau» by Musset (at the Studio Théâtre), / with H. Massignat on «Cendres de cailloux» by Daniel Danis (at the T.G.P. de Saint-Denis) / with Véronique Samakh on : «La ronde de nos saisons», Ja-panese Haïkus (at the Théâtre de Saint-Quentin), «Méchant !» by Anne Sylvestre, «Ivan et Vassilissa - Conte Russe» (at the C.D.N. de Sartrouville) / With Rémi De Vos on : «Débrayage» (at the Centre Dramatique de Bretagne). His compositions for danse include work with J-Ch. Maillot and the Ballets de Monte-Carlo on : «Ubuha», «Casse-noisette Cir-cus», «Le Songe», «Faust», «Altro Canto 2», «LAC» / With J-V. Boudic for the Compagnie A. Preljocaj , on «Otarcifonni» / With Jacopo Godani for Les Ballets de Monte-Carlo on «Beyonders» et for Aterballetto on «Baby Gang». He has also written the music for several documentary films was commissioned to compose music for the Imagina 2001 festival and the gala Nijinski events in 2002 et 2004, at the Grimaldi in Monte-Carlo. Since 2006 he has taught at the CMI (Centre Musical et Informatique) in Paris.

designed some 5000 costumes), and the gigantic launch ce-remony for the World Cup in 1998. Recently he designed 3000 costumes with Tanino Liberator for Alain Chabat’s film, Astérix et Cléopatre, for which he was awarded the “Cesar” for the best film costume in 2003. for the Ballets de Monte-Carlo, he designed the costumes for La Belle, D’une Rive à l’Autre, Noces, Miniatures, Le Songe, Lac.

StaffORGANIZATIONAL STRUCTURE OF LES BALLETS DE MONTE-CARLO

CHOREOGRAPHER-DIRECTORJean-Christophe Maillot

General Administrator: Jean-Marc GenestieFinancial Director: Carole Laugier

Principal Ballet Master: Bernice CoppietersBallet Masters: Giovanna Lorenzoni - Glen Tuggle Repetiteur: Asier Uriagereka, Gaëtan MorlottiPianists: Imelda Hamilton Cartwright – Patricia Krawczynska

Touring Manager: Didier LambeletTouring Administration: Muriel LoncleProgramming Manager for Guest Companies: Josu Zabala

Secretary to the Choreographer-Director: Muriel Corradi-GaribaldiSecretary to the General Administrator: Muriel RousseauProduction Assistant: Brigitte Saramitto Chief Accountant: Maurice GozzellinoAccountant: Fatima BoubguiraAuditions Manager: Kathy PlaistoweBallet Artists Manager: Patrick VereeckenEducational Activities Manager: Dominique DreyfusEducational Projects Manager: Gaëtan MorlottiPlanning Coordination Manager: Ljiljana LambeletTechnical and Artistic Coordination: Chris RoelandtMerchandising Manager: Alain PierimarchiBuilding Reception and Manager: Florence RoyBuilding Maintenance Technician: Alain Cinquemani

Director of Communication: Isabelle RicardPublic Relations and Protocol Supervisor: Christine Demoussis Press Relations Manager: Jessica PinalPublications and Graphic Manager: Geoffroy StaquetPhotographer: Alice BlangeroMedia Plan Manager: Fabiana TrezeguetPublic Relations and Partners Manager: Patrick Wante

Technical Director: Nick Van der HeydenAudiovisual and Scenic Art Manager: Henri VeranTechnical Assistant: Maryam GhorbanifarStage Crew Manager: Stéphane GualdeStage Manager: Annabelle SalmonVideo/Multimedia Manager: Gregory SebbaneLighting Manager: Samuel TheryLighting Technicians: Gilles Verdino et Thierry Scheidecker

Build Crew Manager: Gregory SottimanoStagehand: Jacques Roques Costume Department Manager: Jean-Michel LainéCostume Department Assistant: Paula VelosoWardrobe Dresser: Carole Morelli et Félicia Cogh

Personal Care, Osteopathy: Ying Hong Deng - Jean-Jacques Diard

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