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Paris Opera Ballet?

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#16 aubri



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Posted 24 January 2002 - 10:35 AM

hi , I am a product of the Paris Opera and I joined the school under Mlle Guillot who was the director before Mlle Bessy, and then Mlle Bessy became the director, and let me tell you, there was amazing dancers before mlle bessy and there is amazing dancer under Mlle Bessy, what she did for the school was a revolution and it worked, as far as epaulement is concerned I learned epaulement at the Paris opera, they are very strict about it, and do not dissociate it with the rest of the technique, I have danced in Italy, Belgium, England and united states, I have studied if France and Russia and United States I know Ceccheti, Vaganova, RDA, Bournonville and Balanchine and they are all wonderful schools that emphasis in different area of dancing, but the french school as taught at the PAris Opera is definitely the most complete.
As far as acting I do know that dancers like Pietragalla, Platel, Guerin, Maurin, Arbo, Legris, Belarbi etc all product of "the torture of Claude Bessy" ARE GREAT ACTOR THAT CAN DANCE.
If there is a shortage now which I do not think so,Dancers it's just like wine, you have good years and you have bad one .
I whish for the world that each country had a Mlle Bessy.
And Rudolph choose is marvel among Mlle Bessy's product.

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[ January 24, 2002: Message edited by: aubri ]

[ January 25, 2002: Message edited by: alexandra ]

#17 Alexandra


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Posted 24 January 2002 - 10:49 AM

Thank you for that, Aubri. It's very nice to have an insider's view, and from someone who's studied various techniques. (I agree with you that the dancers named are very fine actors.)

I have a question -- is what is taught at the Conservatoire very like what is taught at the Paris Opera school, or different?

#18 aubri



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Posted 24 January 2002 - 10:54 AM

When I was at the school, the teacher at the conservatoire were former Paris Opera etoile, Roger Ritz, Christiane Vaussard, Pierre Lacotte and it was exactly the same, but the discipline was a little easier ther as they dealt with older kids, 14 to 18.
Elisabeth Platel,Isabelle Guerin amongs other are Premier Prix du Conservatoire.

#19 BW


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Posted 24 January 2002 - 11:45 AM

Great to hear from you aubri. It's wonderful to read some first hand imformation.

Would you say that the various styles of training that you mentioned were combined in the style of training that you received while studying at the Paris Opera Ballet?

I am not well-versed in the different styles mentioned. I do, however, look at my daughter's Technical Manual of Style book and see the differences - albeit they're drawn in stick figures!

#20 aubri



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Posted 24 January 2002 - 10:24 PM

Hi BW, Well the Paris Opera was under the direction of few people coming from abroad and I guess that under the power of Staats and Zambelli, Zambelli brought the Italain Style, then with Lifar some of his Russian heritage probably followed him, so indirectly I think yes there has been influences from the other school.

[ January 24, 2002: Message edited by: aubri ]

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