Béjart Ballet Lausanne

Since its inception in 1987, Béjart Ballet Lausanne is a reference in the choreographic world. Chosen as his successor by Maurice Béjart, Gil Roman is leading the company and preserving its artistic excellence, since the disappearance of the master in 2007.

Maurice Béjart always wanted to open the world of the ballet to a larger audience. Animated by the same spirit, Gil Roman and his dancers perform all over the world. Béjart Ballet Lausanne is one of the very few companies able to fill vast spaces such as the NHK Hall of Tokyo, the Kremlin State Palace of Moscow, Odeon of Herodes Atticus in Athens, the Palais des congrès de Paris, Forest National in Brussels or the Patinoire de Malley-Lausanne.

Since 2007, with his search and work for contemporary creation, Gil Roman maintains and develops the repertoire of the Béjart Ballet Lausanne. The work of Maurice Béjart is at the heart of this repertoire, with emblematic choreographies, as the Rite of Spring, Boléro, The Ninth Symphony of Beethoven or Ballet for Life but Gil Roman also wants to present the variety of this repertoire, with Piaf or The Magic Flute for example. Choreographer for 20 years, the artistic director also nourished the repertoire with his own creations. Choreo­graphers like Alonzo King, Tony Fabre, Chris­tophe Garcia, Giorgio Madia, Julio Arozarena or Yuka Oishi also contributed to the creative development of the Béjart Ballet Lausanne.

The Company remains faithful to its vocation: preserving Maurice Béjart’s work, while remai­ning a space of creation.

Impromptu…
Choreography: Gil Roman
Music:Erik Satie
Costumes: Henri Davila
Light: Dominique Roman
Premiere: Impromptu for Peralada, Festival Castell de Peralada, July 10, 2015

This ballet, on Franz Schubert and Citypercussion’s music, illustrates different choreographic perspectives: from the elegance of the soli and of the pas de deux, to the energy of the ensembles.
“This creation was, above all else, inspired by my female dancers. It was through the research of a particular choreographic language that possibilities of stories appeared.”

Un
cygnedautrefoissesouvientquecestlui
Choreography : Maurice Béjart
Music: Richard Wagner : Lohengrin : Prélude de l’Acte I (Klemperer Conducts Wagner) O. Klemperer (chef d’orchestre), Philharmonia Orchestra; EMI
Costumes: Henri Davila
Light:  Dominique Roman
Premiere : Métropole, Lausanne, 1993 (L’Art du Pas de Deux)
Original cast : Gil Roman

Maurice Béjart arranged the choreography of Un Cygne d’autrefois se souvient que c’est lui 25 years ago for Gil Roman. This time, the solo is handed down to—and interpreted by—two dancers from the company. 

Bhakti III
Choreography: Maurice Béjart
Music: traditional Indian music
Stage design and costumes: Germinal Casado
Premiere: Avignon Festival, July 26th, 1968

Through love, the adorer identifies with the divinity and relives the legend of his God each time, this God that is but one of the nameless faces of reality.
Shiva, the third entity of the Hindu Trinity (Brahma, Vishnu, Shiva)
The God of Destruction (who is moreover the destruction of illusion and personality). The God of Dance. His wife, Shakti, is nothing other than his vital energy, which emanates from him and returns to him, immobile and yet eternally in movement.
                                                                                                                                                                        Maurice Béjart, 1968

Altenberg Lieder
Choreography: Maurice Béjart
Music:    Alban Berg: Altenberg Lieder Op 4 (Berg: ”Lulu”- Suite Altenberg Lieder) Dir. Claudio Abbado, London Symphony Orchestra, Margaret Price (soprano); Deutsche Grammophon
Costumes: Henri Davila
Light: Dominique Roman
Première: Maison de la Danse, Lyon - December 1995

 

Three beings will experience a unique moment of their lives by dancing right before your eyes.
What is, what will this moment be?
Each of you can imagine and experience it at the same time as space, at the same time as music, at the same time as time, time, just for a moment in time.

 

Maurice Béjart

Piaf
Choreography Maurice Béjart
Music Édith Piaf
Costumes Walid Aouni
Costume design Henri Davila
Light Jean-Pierre Potvliege
Light design Dominique Roman
Premiere Bunka Kaikan Theatre, Tokyo, November 2, 1988
Revival
Lausanne Opera, May 8, 2015

Piaf, it’s primarily a voice, stupendous, omnipresent, immortal, that goes beyond time and boundaries. Which female dancer, which actress can embody Piaf?
She is without substance; she is only love, an adored presence and agonizing to the other. Crossing the mirrors of loneliness, she jumps into the other’s arms, each time another, the same, always. Men– she discovered them, loved them, gave birth to them, sublimated them. Men are her strength, her joy, her eternity, created by her, they lived thanks to her, became all, eternally, Piaf.

Maurice Béjart

 


photo by Yuri Polyansky

 



Gil Roman

4 мая 2018

Gallery

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