MARIE-AGNES GILLOT ON DANCE

By Crash redaction

MARIE-AGNÈS GILLOT HAS SHARED HER EXTRAORDINARY GRACE AND UNRIVALED TECHNIQUE ON THE STAGES OF THE OPÉRA GARNIER SINCE SHE WAS A CHILD. NAMED AN “ÉTOILE” IN 2004 AFTER HER PERFORMANCE IN CAROLYN CARLSON’S “SIGNES”, SHE IS NOW WIDELY REGARDED AS THE MOST CONTEMPORARY CLASSICAL DANCER ON STAGE TODAY. HYPNOTIC IN “ORPHEUS AND EURYDICE”, THE OPERA BALLET DIRECTED BY PINA BAUSCH IN 1975, HER REPERTOIRE RANGES JUST AS VASTLY AS HER TALENT. IN 2012 SHE WORKED WITH VISUAL ARTIST OLIVIER MOSSET TO CREATE “SOUS APPARENCE”, A PERFORMANCE THAT PLACES DANCE WITHIN A MUCH BROADER ARTISTIC CONTEXT. GILLOT, OR THE STORY OF A “PETIT RAT” TURNED “ÉTOILE”.

FIRST MEMORY

“My first memory relating to dance comes from my childhood dance class in Normandy. I remember this feeling of being watched in a safe and comforting way by my instructor. She was an incredible person who completely changed my perception of dance.”

DANCE: MORE POWERFUL THAN LOVE

“Dance is more powerful than love for me; it’s a passion that takes over my entire life. Whether or not love can take over an entire life remains uncertain.”

OPÉRA GARNIER

“Opéra Garnier is my real home; I spend more time there than I do at my own house.”

BENJAMIN MILLEPIED

“Benjamin Millepied wants to export the Opéra Garnier’s “Étoile” dancers. I am traveling to London for a performance with choreographer Wayne McGregor. He is going to “create with me”. I love being used for art, and our collaboration will be an authentic form of dialogue. He gives free reign to the imagination.”

COMPETITION

“I like to emulate others, but I don’t deal well with competition: I’m too sensitive. I admire other people and that pushes me to take things further, but not in a competitive way, just to improve. I want to do everything well but not to compete, just to get better.”

CLASSICAL DANCE VS CONTEMPORARY DANCE

“The divide between classical and contemporary dance is a conflict I have already put behind me. In France we have a huge advance over the rest of the world in terms of the dialogue between classical and contemporary dance. Through the efforts of former director Brigitte Lefèvre, Opera Garnier has long capitalized on its broad conception of dance. It has continually hosted the greatest performances put on by the most innovative directors. Benjamin Millepied is inheriting a marvelous organization that has already transcended the limits.”

PINA BAUSCH

“Meeting Pina Bausch was a transformative experience in my life. She encouraged me to choreograph. Like me she developed her first pieces at 33. She made me promise that I
would not abandon choreography. She is the first person to believe in me in this respect.”

ARTIST VS PERFORMER

“I work on a level of invention more so than performance. I think of myself as a creator, or rather as a researcher, even when performing an existing choreography. There are two sides to me: I like to be used for art, I like when great artists guide me, but I also like to create.” “Female choreographers are a rare sight; it’s mostly a man’s world. We have to take strong positions and say important things.”

OLIVIER MOSSET

“Sophie Calle introduced me to Olivier Mosset. I was immediately fascinated by his mind and intelligence, and we have worked together on several occasions. We are currently working on a film set on highway N13.”