
artistiC directOR:
BRUNO bouché
FRANCE
TRANSLATION IN PROGRESS
The Rhine Opera Ballet brings together thirty-two permanent, academically trained dancers from all over the world in Mulhouse, selected for their versatility and creativity. Directed by Bruno Bouché since 2017, the Ballet draws from unique international influences, fifty years of working closely with the great figures of classical and contemporary choreography and a deep commitment to audiences throughout of the region.
TOURNée 25/26

Bruno Bouché
Bruno Bouché entered the dance school of the Opéra national de Paris in 1989, and entered its ballet company as a quadrille dancer in 1996. He was promoted to coryphée in January 1999 and to sujet in 2002. His notable appearances include works by George Balanchine, Pina Bausch, Maurice Béjart, Kader Belarbi, William Forsythe, Jiří Kylián, Rudolf Nureyev, Marius Petipa, Roland Petit, Angelin Preljocaj, Laura Scozzi, and Saburo Teshigawara. While at the Opéra de Paris, his company was often invited throughout Europe, the USA and Japan. Since 1999, he has been artistic director of Incidence Chorégraphique, which produces the choreographies of Opéra de Paris dancers such as José Martinez and Nicolas Paul. These have been performed in France, Spain, Italy, Japan, and recently in Israel at the Suzanne Dellal Centre in Tel Aviv and the Karmiel Dance Festival, and also at the Opera and the French Cultural Center in Istanbul. Bouché has created several choreographies since 2003, including Bless – ainsi soit IL (2010, Suzanne Dellal Centre Tel Aviv), Elegie (2011, with Les Dissonances and David Grimal), Nous ne cesserons pas (2011, Fondation Georges Cziffra), and From the Human Body (2012, Fontainebleau Theatre). For Percussions et Danse at the Paris Opera in 2013, he created SOI-Ătman and _Music for Pieces of Wood._These pieces were performed on the stage of the Opéra Garnier. For _Musique et Danse_2014 at the Opéra Garnier, he created Yourodivy. He has worked with the artist JR on the film Les Bosquets and for a film shoot on the roof of the Opéra Garnier. His pieces Amores 4 and Dance Musique 3-2-1 were staged at the Opéra Garnier in March 2015. For the 2015 Israel Tour, Bouché's Between light and nowhere was performed at the Suzanne Dellal Centre in Tel Aviv. In 2013, he became artistic director of Les Synodales Festival in Sens, for the dance season at the local municipal theater, and for a young dancers' competition. In 2014/15, assisted by Laura Gédin, he managed the dance project Dix mois d'école et d'Opéra and created the piece _Ça manque d'amour_after one school year of workshops with a 6th-grade class from outer Paris. During the 2015/16 season, Benjamin Millepied asked him to take part in his first Académie de Chorégraphie at the Paris Opera. In June 2017, he created Undoing World at the Paris Opera. In July 2016, he was appointed Director of the CCN Ballet of the OnR. Bruno Bouché officially started as director in September 2017. In May 2018, he restaged Bless-ainsi soit-IL for the soirée Dancing Bach in the 21st Century. In October 2018, he signed the choreography for Fireflies. In the fall of 2019, he created, as part of the "Danser Chostakovitch, Tchaïkovski" evening, 40D, a piece for 7 dancers on music by Rachmaninov and Scriabin, and he will create Encore at the end of the season as part of the programming "Spectres d'Europe # 2".
INTERVIEW
WITH
WILLIAM FORSYTHE
How do you describe yourself? — I use classical ballet, the classical system, but
not its language. What’s your approach? — It can start from anything, a word, a
color, a sound, a space. Then, I create my material: a movement, a light, a sound
with an object, an object with a movement, a sound with a light and a movement,
sometimes all of those at once. I devise sequences, then I edit them like a film. Do
you see a future for classical ballet? — The vocabulary is not, will never be, old: it
is how it is used that dates. If its usage evolves, there is no reason why classical
ballet should disappear.”
– Interview with William Forsythe, June 1988.
Some forty years ago, the American choreographer William Forsythe was
appointed director of the Ballet Frankfurt and with his work Artifact
(1984) achieved the first milestone in an artistic career that would go on to
innovate the interpretation of and contemporary approach to dance, opening it up
to the influence of other disciplines. The Ballet de l’Opéra national du Rhin
commemorates this revolution by uniting for the first time three works by Forsythe
created in the 1990s to music by Gavin Bryars, Ludwig van Beethoven and Thom
Willems: the mesmerizing “Quintett” (1993), the virtuoso “Trio” (1996) which is
making its entry into the company’s repertoire, and the hypnotic “Enemy in the
Figure” (1989). An explosive program that celebrates the speed and might of the
human body.

Enemy in the Figure (1989)
Quintett (1993),

Trio (1996)

A
Quintett ( 1993 ),


Choréography
William Forsythe
In collaboration with
Dana Caspersen,
Stephen Galloway,
Jacopo Godani,
Thomas McManus,
Jones San Martin
Music
Gavin Bryars
Costumes
Stephen Galloway
scenography and ligthing
William Forsythe
Piece for 5 dancers
Re-creation. Created in 1993 by the Frankfurt Ballet.
Added to the OnR Ballet repertoire in 2017.
Quintett is a unique piece among William Forsythe's many masterpieces.
When he created the piece, during rehearsals, his wife was dying.
He had to be absent very often.
The five performers then took charge of the creative process
so as not to let it fall apart... the group decided to resume
work and continue together. Everything is colour, movement, glances,
connections, jubilant complexity of movement, extreme breathing
: 120 heartbeats per minute and much more for
the performers who throw themselves wholeheartedly into this piece. The
music and text by Gavin Bryars that accompany this
metaphysical race make it all the more heart-wrenching: Jesus'
Blood Never Failed Me Yet.
B
TRIO ( 1996 )
Piece for 5 dancers
Added to the repertoire. Created in 1996 by the Frankfurt Ballet.


Choréography and set
William Forsythe
Music Ludwig van Beethoven
Lichts Tanja Rühl
Costumes Stephen Galloway
C
ENEMY IN THE FIGURE
Created in 1989 by the Frankfurt Ballet.


Choréography :
William Forsythe
Music :
Thom Willems
Scenography,
ligthing and costumes :
William Forsythe
Pièce for 11 dancers.
28 minutes.

«Enemy in the Figure» is a dark and thrilling poem about vision and perception, form and chaos.
In a universe alternately frenetic and calm, «Enemy in the Figure» presents a non-narrative of mystery and urgency, isolation and connection, the mechanical and the human: dance as a medium for infinite possibilities. Roslyn Sulcas, New York Times, Premiere by the Frankfurt Ballet, on May 13th 1989.
An undulating screen traverses the stage diagonally to where a projector trolley stands. From the darkness emerge the ghostly figures of eleven dancers, their bodies in geometric convulsions contorting in the light against the throbbing rhythm of Thom Willems’ music.
En regard
Léo Lérus / Sharon Eyal

Ici de Léo Lérus. (Création.)
The Look by Sharon Eyal.
Repertory of the OnR Ballet.
First performed by the Batsheva Dance Company in 2019.
Programme for the entire company.
Performance presented with recorded music.
Duration: 1 hour 10 minutes without intermission.

PRESENTATION
“Becoming one” is when individuals transcend mind and body to form one unified whole. In The Look, the shadowy silhouettes of male and female dancers merge into a single organism, an ecosystem—or perhaps a microcosm? This unique being gazes directly at the audience as it moves, undulates, and breathes in harmony with a hypnotic, organic musical tide that ebbs and flows, blending tribal rhythms with post-industrial influences. Contrasting with this futuristic collective trance, the intimate solos and ensembles in Ici draw freely from Creole culture to celebrate the uniqueness and encounters of radiant individuals whose movements generate
variations of sounds and lights on stage. After meeting at the Batsheva Dance Company, Sharon Eyal and Léo Lérus formed
a tight artistic relationship that has endured twenty years. Invited by the OnR Ballet,they devised the diptych En Regard to unite their two distinct universes. Blending technical precision and raw expressiveness, Sharon Eyal’s piece The Look (2019)
references a Mahatma Gandhi mantra— Nobody can hurt me without my permission—that evokes the resilience of the body, mind, and human communities in the face of violence and oppression. It finds a continuation and mirror in Léo Lérus’s new creation, Ici, which infuses his innate sensitivity and contemporary energy into Guadeloupean choreographic and musical traditions dating back to the slavery period.
After meeting at the Batsheva Dance Company, Sharon Eyal and Léo Lérus formed a tight artistic relationship that has endured twenty years. Invited by the OnR Ballet, hey devised the diptych En Regard to unite their two distinct universes. Blending technical precision and raw expressiveness, Sharon Eyal’s piece The Look (2019) references a Mahatma Gandhi mantra— Nobody can hurt me without my permission—that evokes the resilience of the body, mind, and human communities in the face of violence and oppression. It finds a continuation and mirror in Léo Lérus’s new creation, Ici, which infuses his innate sensitivity and contemporary energy into Guadeloupean choreographic and musical traditions dating back to the slavery period.

ICI
Piece for 12 dancers.
Choreography, in collaboration with the performers : Léo Lérus
Sound composition : Denis Guivarc’h
Costumes : Bénédicte Blaiso
Lights : Chloé Bouju


THE LOOK
Piece for 18 dancers.
Choreography : Sharon Eyal
Music : Ori Lich4k
Costumes : Rebecca HyQng
Lights : Alon Cohen




Soirée WILLIAM FORSYTHRE
EN REGARD,
Sharon Eyal /
Léo Lerus
-
17
-
Quai 9, Lanester,France
avril26

SoiréeWILLIAMFORSYTHRE
EN REGARD,
(Sharon Eyal /
Léo Lerus )
-
07
-
Aditorium,Opéra de Dijon,France
january

SEE DATES
25/26
