Keep dancing – Danser Encore
The Lyon Opera Ballet will perform soli all over the CN D, in a choreographic circuit resulting from the meeting between one different dancer and one different choreographer for each solo. “Danser Encore” wishes to reflect the diversity of contemporary creation and immerse us into a living creative process for contemporary dance. Initiated in 2020 by Lyon Opera Ballet director Julie Guibert, the “Danser Encore” cycle relies on a desire to showcase the individuality of the company’s dancers and to support choreographic creation in the difficult context of a global pandemic by banking on the fertile dialogue between choreographers and performers. From the creation of tailored soli, “Danser Encore” exposes the team work of two people and highlights how diverse contemporary creation is. After conceiving 13 original soli, the Lyon Opera Ballet will continue the project by creating more pieces that will use all the resources of the body, image and movement. Occupying the entire space of the Centre national de la danse over the course of two days, over 10 soli will be performed in the studios and the Atrium, revealing the fragility, lightness, density and particular grain of each performer and the magnitude of their desire to dance.

Love 

This new work from Marcos Morau/La Veronal for The Lyon Opera pushes the limits of perception, inviting the mind to lose itself in the imagination. In The Theatre and its Double, Antonin Artaud wrote “The mind believes what it sees and does what it believes: that is the secret of fascination.” 

The dancer’s body and a cardboard box are linked together in a mysterious and almost hypnotic way. The dancer playfully explores the extremes of gravity and the unknown, showing us just how much fun it can be to lose ourselves in a simulation or lie of our own creation.  

The relationship between the body and the object, the inanimate and the living, between what we can and can’t see and between tension and strength, creates a complex interplay that forces the dancer beyond the confines of logic.  

Source: programme of the CND

Marcos Morau studied choreography at the Institut del Teatre de Barcelona, the Conservatorio Superior de Danza de Valencia and at Movement Research in New York, obtaining the highest score on his final project and an award from the Institut del Teatre. He was an assistant for Nederlands Dans Theater II as well as for the company IT Dansa directed by Catherine Allard. He also studies photography and drama, working toward a Masters in Theory of Drama.

In 2005 he created La Veronal, a company formed by artists in dance, film, photography and literature. They are constantly searching for new means of expression, for cultural references in cinema, literature, music and photography, creating a strong narrative language toward the formation of global art spaces. La Veronal is creating a series of works in which the starting point is a country or city, creating a link between dance and geography. The pieces are not meant to be documentaries describing the country directly, but instead use certain elements in its name to develop an idea, an argument. This imagery characterizes the unique voice of the company.

Marcos Morau was awarded the National Dance Award in 2013 from the Spanish Ministry of Culture, as well as the Sebastià Gasch Award, an important prize granted by the FAD Foundation of Arts and Design. He has also won awards at the International Choreography Competition Hannover, the Choreography Contest in Copenhagen, the Madrid Choreographic Competition, Masdanza / the International Dance Festival of the Canary Islands, Best show in Fira Tarrega for Los Pájaros Muertos, and the “Butaca” Award, the audience prize given to the Best Dance Performance in 2013 for Siena.

Marcos Morau and his team have also begun working with other international companies ; during the upcoming seasons they will create new pieces for the National Dance Company of Spain directed by José Martínez, the Scapino Ballet Rotterdam, Skånes Dansteater and Norrdans in Sweden, the Ballet Teatres of the Generalitat Valenciana and the Royal Danish Theatre among 

Source : CCN-Ballet de Lorraine

More information : www.laveronal.com

Since 2001, the National Center for Dance (CND) has been making recordings of its shows and educational programming and has created resources from these filmed performances (interviews, danced conferences, meetings with artists, demonstrations, major lessons, symposia specialized, thematic arrangements, etc.).

As early as 1969, when arriving at the head of the “Opéra Nouveau de Lyon”, Louis Erlo gave a key place to dance. For the first time, an opera house outside of Paris consecrated to its ballet company entire events devoted to dance.
Ever since, it has never stopped opening up to every kind of source, be it a stream or a river, close or far, harmonious or stormy. But, whatever the case, always talented. Right from the start, the Ballet de l’Opéra de Lyon has lived out this vivifying opening to the world, with its first directors, the Italian Vittorio Biagi, then the Yugoslav Milko Speremblek and the New-Zealander Gray Veredon, who were all in the neo-classical, Béjartian movement of the times. 

But, as of 1985, it was Françoise Adret who gave the company a resolutely plural turn. “Mère Adret” as her dancers affectionately called her, had an eye, the gift of the gab and a large address book. Above all, Française had travelled widely and her mission was to give the troop a national and international dimension. She built up a repertory based on a twofold spectrum: great international choreographers who were still little demanded, (and not the least of them, including Jiří Kylián, Mats Ek, Nacho Duato or William Forsythe) and an opportunity given to “young French dance” (Mathilde Monnier, Maryse Delente, or Angelin Preljocaj)… In any troop, there are moments of grace. But, in Lyon, a lightning bolt was to change the course of history. In 1985, no one imagined that a magical doll (Maguy Marin’s Snow White) would provide the company with a world tour, with no fewer than three trips to the USA in just 1987… Three years later, Lyon did it again by creating the famous rereading of Romeo and Juliet by Angelin Prejlocaj. This was a fresh challenge (and, for the choreographer, his first important commission), and another memorable piece. The die was now cast …
When, in 1991, the Greek ballet-master and director Yorkos Loukos replaced Françoise Adret, the trend was set and has continued to thrive until today, with an extremely open-minded “choreographic” palette. Maguy Marin, who had become resident choreographer, set off even more sparks when, in 1993, she inaugurated the new Opéra de Lyon with an offbeat version of Coppélia set in a popular bar in the suburbs of Lyon. With turnings-back towards the history of dance, views of the contemporary scene, visions of what it will be tomorrow, a plurality of styles, the ages of the choreographers, their origins, and backgrounds, the strength of the Ballet de l’Opéra de Lyon comes from the very absence of any particularity, except if it is the highly diverse repertory as sought out by Yorgos Loukos. It goes without saying that it attracts the public (who love novelty) and today’s young dancers, who like and are used to changes of style. Even the teachers are in constant motion, changing every month, so as to avoid any routine.

Today, the company has a repertory of 117 pieces, over half of which are creations. A list of the choreographers who have worked in Lyon is a reminder of the importance of the pioneers of new French dance (Mathilde Monnier, Jean-Claude Gallotta) and its young cousins (from Jérôme Bel to Christian Rizzo, Alain Buffard or Rachid Ouramdane). It also means meeting the guiding lights of modern American dance (Trisha Brown, Merce Cunningham, Lucinda Childs), from post-classic energy (William Forsythe, Benjamin Millepied) to the "next wave" (such as Otto Ramstad). It means exploring Belgian musicality (de Keersmaeker) Swedish theatricality (Mats Ek), Czech lyricism (Jiří Kylián), or Israeli power (Ohad Naharin, Emanuel Gat). It means getting used to seeing new talents (Tania Carvalho, Alessandro Sciarroni, Marina Mascarell..). It means… being at the confluences of a dance that has never been so open to the world.

Source: Opéra de Lyon 's website

More information : opera-lyon.com