"Ballet is first and foremost a matter of tempo and space: the space is delimited by the stage, the tempo is given by the music." Here is how George Balanchine, the Russian dancer and choreographer later naturalized American citizen, used to define his art. Tempo and space. Accordingly, these two physical notions entail the terms of evolution, movement, gesture, and eventually, body as key components of the choreographic discourse. A spiritual son of Marius Petipa, Balanchine lies within a classical tradition. But a tradition which, at the image of his aesthetic profession of faith, is neither static nor continuous. Tradition is an horizon and a point of reference, not a settled academism.
Dominique Delouche encounters Violette Verdy, Nina Vyroubova, Milorad Miskovitch, Alicia Markova and Ghislaine Thesmar, five dancers who hand down to the young generation the secret of Balanchine's choreographies. An exceptional testimony from those who knew and worked with the Russian master.
Angelin Preljocaj – Nicolas Le Riche (Siddharta), Aurélie Dupont (L'Éveil) – Corps de Ballet de l'Opéra national de Paris