SUNDAY 15TH AND MONDAY 16TH OF SEPTEMBER
ODEON OF HERODES ATTICUS
«7 Greek Dances»: Maurice Béjart/ Mikis Theodorakis
«Tous les hommes presque toujours s’ imaginent»:
Gil Roman/John Zorn
«Boléro»: Maurice Béjart/ Maurice Ravel
Béjart Ballet Lausanne presents at the Odeon of Herodes Atticus. The emblematic choreographies of Maurice Bejart “7 Greek Dances” with the music of Mikis Theodorakis and the famous “Bolero” with the music of Maurice Ravel along with the choreography of Gil Roman “Tous les hommes presque toujours s’ imaginent” proves the talent and the high artistic level of the Ballet Béjart. An ensemble of 60 dancers will impress us on the Odeon of Herodes Atticus.
Maurice Bejart was born in Marseille on January 1, 1927. He began his career in Vichy in 1946, continued with Janine Charrat, Roland Petit and especially in London as part of the International Ballet. During a tour on Sweden with the Cullberg Ballet (1949), he discovers the resources of choreographic expressionism. In 1955, he confirms his thinking outside the box with the choreography of “Symphonie pour un home seul”, performed by his company Les Ballets de l’Etoile. In 1960, Maurice Bejart launches, in Brussels, Les Ballets du XX Siècle, an international company touring around the world, and the number of his creations is steadily increasing: Boléro (1961), Messe pour le temps present (1967) and L’Oiseau de feu (1970). In 1987, Le Ballet du XX Siècle becomes the Béjart Ballet Lausanne and the great choreographer sets up in the Olympic capital. As well as directing plays, operas and films Maurice Béjart had also published several books. In 2007, on the eve of his 80th birthday, the choreographer creates “La vie du danseur racontée par Zig et Puce”. While working on what would be his last creation, “Le tour du Monde en 80 Minutes”, Maurice Béjart passed away in Lausanne on 222 November 2007.
During more than thirty years, the dancer interpreted Maurice Béjart’s most renowned ballets before becoming in turn the Artistic Director of the Béjart Ballet Lausanne. After intensive training with Marika Besobrasova, Rosella Hightower and José Ferran, Gil Roman joined Maurice Béjart at Le Ballet du XXe Siècle in 1979. He has performed in Béjart’s most renowned ballets during more than 30 years. Appointed by Maurice Bèjart as his successor and Artistic Director in 2007, he creates new choreographies and preserves Béjart’s legacy. Gil Roman’s dance career, which span over 40 years, was honored in 2005 with the prestigious Danza & Danza Award for Best Dancer for his performance as Jacques Brel in Brel et Barbara. In 2006, the Monaco Dance Forum awarded him the Nijinsky Award. In 2014, Vaud State Foundation for Culture awarded Gil Roman with the Prix for cultural awareness and, in November of the same year, he received the special Prize from Shanhai Art Festival for his work on Maurice Béjart’s choreography “The Ninth Symphony”. In 2015, at KKL Theater in Luzern on May 15, he was rewarded with the Maya Plissetskaya Award 2015 during a special night in memory of the great dancer, who passed away a few weeks before. On May 29, 2015, Gil Roman received the insignia of Knight of the National Order of Merit (Chevalier dans l’ Ordre national du Mérite).
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, the Palais des congrès de Paris. The Company remains faithful to its vocation: preserving Maurice Béjart’s work, while remaining a space of creation.
“When Theodorakis brought me this music, I was working on a Mediterranean suite called “Thalassa”. I accepted it with enthusiasm and it constituted the final binding. Following this, the number of dances was changed from nine to seven and the choreographies where reworked in a mathematical precision”. Maurice Béjart.
«Tous les hommes presque toujours s’ imaginent»: Gil Roman/ John Zorh
John Zorn is one of the leading composers of contemporary American music. The density and diversity of his extraordinary work, which began in the mid-1970s, as well as the audacity and artistic freedom he expressed through his craft, never ceased to challenge and fascinate the artistic director of the Béjart Ballet Lausanne. It was written that a meeting between the avantgarde musician and the choreographer would happen...
2018, the Béjart Ballet Lausanne studio, Lausanne. Facing a considerable body of work, Gil Roman immerses himself in the various compositions making up the universe that the brilliant multiinstrumentalist has explored from 1990 to 2017… Step by step, with a movement, a gesture, Gil Roman brings his dancers beyond the walls..
“My Boléro,” commented Ravel, “has to stick in one’s head!” More seriously, he explained:
“In 1928, upon request by Madame Rubinstein (Ida Rubinstein, the famous Russian actress and dancer), I composed a Bolero for an orchestra. This is a dance with a very moderate and continuously even movement, both due to its melody and to its harmony and rhythm. The rhythm is continuously marked by the drum. The element of diversity is added by the orchestral crescendo.”
Maurice Béjart describes the creation of Ravel’s work in these terms: “Music that is too wellknown and yet still fresh due to its simplicity. A melody (originally oriental and not Spanish) winds slowly around itself, increasing in volume and intensity, devouring the sound space and swallowing it up at the end of the melody.”
Without further describing a ballet that needs no introduction, let us simply point out that Maurice Béjart returns to the spirit of the Rite of Spring in a very different style. In this sense, unlike most artists who have illustrated Boléro choreographically before him, he spurns the easy choices of a picturesque exterior to simply – but so forcefully – express the essential.
Maurice Béjart gives the central role (The Melody) to a female and then a male dancer. The Rhythm is interpreted by a group of male dancers.
SUNDAY 15TH & MONDAY 16TH OF SEPTEMBER
«Tous les hommes presque toujours s’ imaginent»:
Gil Roman/John Zorn
VIP ZONE: 100€
ZONE A: 85€
ZONE B: 65€
ZONE C: 50€
General Admission: 35€
Specialty tickets for Unemployed & Students (verification required for both): 25€
VIVA.GR, ARTINFO.GR, 210 9213310
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