Don’t let the castanets deceive you: Don Quixote, one of choreographer Marius Petipa’s great successes, is a pure russian ballet, created by the aforementioned choreographer in Saint-Petersbourg in the heart of the imperial golden age.  Since then, this danced comedy has been around the world, although in Spain their lacks a version worthy of its traditions.  This has all been done thanks to José Carlos Martínez, a spanish “étoile” from the Opéra de Paris who took charge of The National Company of Spain in 2010.

Transposed to a village in La Mancha, this Don Quixote brings poetry and realism to the chapter of Cervantes's novel which inspired the ballet.  Focused on the love between Kitri (who has become Quitéria again) and Basilio, the action also follows the wandering knight who crosses their path, while the costumes inspired by spanish folklore offer a realistic shell for Pepita’s joyous craftsmanship. A classic celebration returned to the country.

Source: Programme de la Maison de la Danse de Lyon

Born in 1969 in Cartagena, Spain, José Carlos Martinez started dancing in his home town.  He subsequently continued to dance at the “Centre de Rosella Hightower” in Cannes, taught byJosé Ferran, one of the “founders” of the school.  In 1987, the first “prix de Lausanne” (Lausanne prize) opened up an opportunity for him at the dance school at the Opéra de Paris.  A year later he was employed in the Corps de ballet, and became a “Sujet” in 1990. Receiving the “Prix du public” in 1991, in 1992 he won the gold medal in the “Concours International de Danse de Varna” (International Dance Competition of Varna) and received the “Prix du Cercle Carpeaux”.  This same year, he was promoted to “Premier danseur” (first dancer). Mats Ek chose him to be the Hilarion in his Giselle.  Following his performance in La Sylphide, on 31st May 1997 he was named an “Etoile” (the highest ranking title in the Opéra de Paris).  He would perform both radiant princes and more bleak rulers, such as Jean-Claude Gallotta’s Nosferatu or even the terrible Ivan de Iouri Grigorovitch.  Noticed by guest choreographers - in particular those of contemporary expression - he also created at the Opéra Pas./parts de William Forsythe (1999), Appartement de Mats Ek (2000). Pina Bausch chose him to be Orpheus in her danced opera of Orpheus and Eurydice (2008).  
Outside of his activities with the Opéra de Paris, José Carlos Martinez has danced with the largest companies in the world, and formed the group “José Carlos Martinez en Compagnie”, which regularly appears in Europe and particularly in Spain.
As a choreographer, he signed off his first creation, Mi Favorita, in 2002.  This was a new adaptation of the piece presented at the Palais Garnier for the young dancer shows in 2003.  He created his first work for Gaetano Donizetti’s music, for which he draws on his experience of dancing “classical” ballet, experimenting by stepping back from his usual repertoire or changing direction with humour and fantasy.  The same year he choreographed a pas de deux, Delibes Suite, which was also performed at the Opéra’s show for young dancers in 2006, and became part of the San Francisco Ballet’s repertoire in 2007.  In 2005, he delivered a piece for the students of the Ecole de Danse de l’Opéra de Paris, Scaramouche, through which he reconnected with the Commedia dell’arte’s tradition of pantomime.  In the same year, he created Paranthèse 1 in Japan, which was a solo for Laëtitia Pujol.  In 2006 he created Soli-ter as a part of the “Incidence Choréographique” (The Choreographic Effect) shows, then Favorita for the dancers in the Junior Ballet of CNSMDP.  In 2007 he put on El Olor de la Ausencia (The Smell of Absence), a duet with the spanish war as its backdrop, at the Picasso Museum in Malaga, Spain.  In October 2008, he choreographed Les Enfants du Paradis (Children of Paradise), from the masterpiece of french cinema by Marcel Carné and Jacques Prévert for the Opéra de Paris Ballet.

Source: Site de José Carlos Martínez
More information: www.josecarlosmartinez.com

Born in 1977, Fabien Plasson is a video director specialized in the field of performing arts (dance , music, etc).

During his studies at the Ecole Nationale des Beaux-Arts de Lyon (joined in 1995) Fabien discovered video art. He was trained by various video artists (Joel Bartoloméo Pascal Nottoli , Eric Duyckaerts , etc).
He first experimented with the creation of installations and cinematic objects.

From 2001 to 2011, he was in charge of Ginger & Fred video Bar’s programming at La Maison de la Danse in Lyon. He discovered the choreographic field and the importance of this medium in the dissemination, mediation and pedagogical approach to dance alongside Charles Picq, who was a brilliant video director and the director of the video department at that time.

Today, Fabien Plasson is the video director at La Maison de la Danse and in charge of the video section of Numeridanse.tv, an online international  video library, and continues his creative activities, making videos of concerts, performances and also creating video sets for live performances.

Sources: Maison de la Danse ; Fabien Plasson website

More information: fabione.fr

Compañía Nacional de Danza was founded in 1979 under the name of Ballet Clásico Nacional (Ballet Nacional Clásico) with Víctor Ullate as its first Director. His successors in the post were María de Ávila and the extraordinary Russian ballerina Maya Plisétskaya. Then, in 1990, Nacho Duato was named Artistic Director of the company.

Duato’s appointment brought innovative change to the company. Up to his departure in 2010, he contributed forty-five choreographic works, praised by critics worldwide.

After one year under the artistic direction of Hervé Palito, the Compañía Nacional de Danza appointed its current Artistic Director, José Carlos Martínez. He took office on September 1st, 2011, after leaving his post as Principal Dancer from the Paris Opera Ballet.

José Carlos Martínez's project for the Compañía Nacional de Danza is to promote dance and to make this art form better known. His repertory is wide, ranging from classical and neoclassical ballet to modern choreographic language, within a setting of full artistic and creational freedom. It embraces both new Spanish and international creations, drawing in new audiences and boosting the company's national and international projection. 

Source : Compañia Nacional de Danza de España

More information : http://cndanza.mcu.es/es/