Note of intent

There were many nights, many mornings, then one day the first man was born a dancer. Alone, he would spin, with his arms extended towards no one else, then he was given the first woman as a partner. Dancing together was nicer, but he soon wished to create new movements. To answer it, they invited other creatures to join them. This is the way humanity multiplied. The time passing, they qualified the dance of baroque, romantic and classic. Until the moment when the temptation of a more liberated dance blew in the veils of a enchanting alma. As she turned into a flower, a butterfly, a flame or a storm, Loïe Fuller fascinated them with her “Serpentine Dance”. With her, a number of artists from the New World brought other aspirations: Isadora Duncan, in search of Man's innate movements, dancing to Beethoven's Fifth Symphony, which the orchestra begins with pom, pom, pom, pom! Unable to resist, they took a bite. Joining her, other artists from the New World brought about new aspirations : later, there was Doris Humphrey, for whom “falling and starting again” were the very essence of movement. A new horizon lay ahead of Ballet. Adam and Eve went towards it, leaving Paradise behind. On their way, they learned that they would, from then on, dance by the sweat of their brow and that pain would be part of the creation of new steps. That is when Cain pounced on Abel… Thierry Malandain

Awards and distinctions

Press

A top class Creation by a choreographer who, like Prometheus, passes on the sacred fire to his creatures. The remarkable artists of Ballet Biarritz.

Le Figaro, René Sirvin • 23 June 2003

 

A very high quality work, with stringent technical demands of the highest level, achieved by Bsallet Biarritz with convincing perfection.

El Diario Vasco, Ana Remiro • 21 June 2003

 

Here Malandain showed as much inventively in the ensembles than in the duos. These are as varied as the personalities of their interpreters, […] all remarkable dancers, who can express, in their own way, the powerful and earthy style of Thierry Malandain.

Ballet 2000, Sonia Schoonejans • July 2003

 

The lightness, the audacity of a poetic choreography, all in contrasts served by dancers whose athletic sensuality is clear.

Danse, Danse, Danse, Emérentienne Dubourg • June 2003

 

After you saw such a Creation, you could feel a sense of exultation, as if you were carried away by something that simplifies and elevates you. […] We admire the modesty and culture of a Thierry Malandain always in quest for the unreachable. We admire Ballet Biarritz dancers.

Danse, Sylvia Chaban • September 2003

 

Ballet Biarritz is a disciplined company evolving with enthusiasm and spontaneity. The ensemble is of remarkable construction and rigour. The precision emerging from its work on stage is maybe one of the characteristics of the company. […] Les Créatures is a charming choreographic piece, in which Malandian shares his perception of the history of dance and humanity. And his dancers experience it with true passion.

El Correo, Karmelo Errekatxo • January 2004

 

Ballet Biarritz perfomed at the Internationl Ballet Festival of Havana with a creation by its brilliant choreographer – an aesthete who approaches body language with perfection and profundity. […] The fourteen dancers are a permanent source of energy on stage and show a rare mastery of their bodies, always radiant, eloquent and expressive.

Cubarte, Anubis Galardy • November 2004

 

This magnificently constructed ballet shows superb choreographic art.

Figaro Magazine, François Deletraz • 27 June 2003

 

His latest piece is a monument.

Madame Figaro, Ariane Bavelier • 21 February 2004