Interview with Jean-Christophe Paré by Marina Nordera PHAIDRA University of Padua Centre National de la Danse, Pantin, France July 13, 2022 All materials are owned by Ca’ Foscari University of Venice, project Mnemedance. Any use of the material different from consultation is not possible without the prior written consent of Mnemedance’s supervisor. Interviews may only be reproduced with permission by Mnemedance. MovingImage http://phaidra.cab.unipd.it/o:449891 All rights reserved hdl:11168/11.497818 https://phaidra.cab.unipd.it/o:497818 Dancer and dance educator JEAN-CHRISTOPHE PARÉ and dance historian MARINA NORDERA discuss about the Baroque Dance, a genre that Paré encountered in the 80s during an era of political and cultural significance for France that saw the recognition and support by the French state not only of the “nouvelle danse française” but also of the “danse baroque”. Engaged in exploring unknown paths during his career, his way of dealing with memory is a very peculiar one; as he claims, “I love to know that I lose memory”. Going deeper into the specificities of the interpretation of different roles that marked his career, such as those of L’entrée d’Apollon by Guillaume-Louis Pécour and L’entrée du Sommeil in Lully’s Atys, Paré describes how his relationship with baroque dance was developed from being an established dancer at the Paris Opera to transitioning to an independent dance artist. After years of research and practice close to Francine Lancelot, today he approaches baroque dance as a creative form of expression that may vibrate in the present through sensorial flow and a kinesthetic organisation of movement. Referring to educational settings, he approaches baroque dance, and more generally all forms of theatrical dance, through the lens of interdisciplinarity, thus not as an isolated module to study separately from other practices but rather as a way to explore broader themes pertinent to contemporary choreographic composition. He sees in baroque dance the potential to become a space of synthesis where past and present may form a connected whole. INTERVIEW QUESTIONS: [00:00:19] What is your first dance memory? [00:04:03] How has your relationship with dance developed throughout your career? [00:07:58] Do you remember how you felt when you first encountered Baroque dance? [00:14:02] How did your training in classical, modern, post-modern and contemporary dance influence your interpretation of Guillaume-Louis Pecour’s Entrée d'Apollon? [00:22:01] How was the experience of interpreting the Entrée du Sommeil in Atys? [00:24:44] Did you have the opportunity to pass on the Entrée du Sommeil to other dancers? [00:29:13] Has your relationship with the interpretation of Baroque dance changed over time? [00:32:33] Could you talk about your recent work with the dancer and choreographer Jean-Christophe Boclé on the experience of memory in dance? [00:36:36] What memories do you have of the early 1980s in France, a pivotal period when “danse baroque” and the “nouvelle danse française” emerged at the same time? [00:41:29] Were the so-called “early dances” part of the training at the Paris Opera ballet school? [00:43:19] What was your view of Baroque dance in the 1980s, and what is it today? [00:47:44] Could you talk about your artistic experience with Wilfride Piollet and Jean Guizerix? [00:56:14] Could you define the notion of style? [01:00:57] When you pass on a dance piece, how do you include what you call the “stylistic vibration in the transmission of movement”? [01:07:14] Have you developed any mnemotechniques throughout your career as a dancer? [01:09:06] Do you carry the memory of the pieces that you danced from 1970 to 1980? [01:12:50] Have you always taken notes of the creative process? [01:15:58] When you were a dancer at the Paris Opera, did the institution take charge of the preservation of memory, whereas as an independent dancer, did you have to find your means to preserve memory? [01:19:39] What is the place of Baroque dance in the educational institutions where you have been engaged in different capacities? video/quicktime (1044288333 bytes PT1H24M56S) Paré, Jean-Christophe (Interviewee) Nordera, Marina (Interviewer) Centre National de la Danse, Pantin, France 13 luglio 2022 fra Atys ; Entrée d’Apollon ; Eventail (III) ; Points in Space ; Boclé, Jean-Christophe ; Carlson, Carolyn ; Childs, Lucinda ; Christie, William ; Cunningham, Merce ; Degroat, Andy ; Dunn, Douglas ; Guizerix, Jean ; Lancelot, Francine ; Larrieu, Daniel ; Massin, Béatrice ; Piollet, Wilfride ; Raffinot, François ; Conservatoire national supérieur de musique et de danse de Paris ; Ecole supérieure de danse de Marseille ; French Ministry of Culture ; Paris Opera ; baroque dance ; interdisciplinarity ; interpretation (performance) ; kinesthesia ; movement phrasing ; sensoriality ; sensorial flow (sensorial organisation of movement) ; suspension ; stylistic vibration ; versatility Dancer and dance educator JEAN-CHRISTOPHE PARÉ and dance historian MARINA NORDERA discuss about the Baroque Dance, a genre that Paré encountered in the 80s during an era of political and cultural significance for France that saw the recognition and support by the French state not only of the “nouvelle danse française” but also of the “danse baroque”. Engaged in exploring unknown paths during his career, his way of dealing with memory is a very peculiar one; as he claims, “I love to know that I lose memory”. Going deeper into the specificities of the interpretation of different roles that marked his career, such as those of L’entrée d’Apollon by Guillaume-Louis Pécour and L’entrée du Sommeil in Lully’s Atys, Paré describes how his relationship with baroque dance was developed from being an established dancer at the Paris Opera to transitioning to an independent dance artist. After years of research and practice close to Francine Lancelot, today he approaches baroque dance as a creative form of expression that may vibrate in the present through sensorial flow and a kinesthetic organisation of movement. Referring to educational settings, he approaches baroque dance, and more generally all forms of theatrical dance, through the lens of interdisciplinarity, thus not as an isolated module to study separately from other practices but rather as a way to explore broader themes pertinent to contemporary choreographic composition. He sees in baroque dance the potential to become a space of synthesis where past and present may form a connected whole. QUESTIONS D'ENTRETIEN: [00:00:19] Quel est ton premier souvenir de danse? [00:04:03] Comment s’est construit ton rapport avec la danse tout le long de ta carrière? [00:07:58] Est-ce que tu te souviens de ce que tu as ressenti lors de ta première rencontre avec la danse baroque ? [00:14:02] Comment ta formation en danse classique, moderne, post-moderne et contemporaine a-t-elle influencé ton interprétation de l'Entrée d'Apollon de Guillaume-Louis Pecour? [00:22:01] Comment as-tu vécu l’expérience de l’interprétation de l’Entrée du Sommeil dans Atys? [00:24:44] Est-ce que tu as eu l’occasion de transmettre l’Entrée du Sommeil à d’autres danseurs? [00:29:13] Est-ce que ton rapport à l’interprétation de la danse baroque a changé dans le temps? [00:32:33] Pourrais-tu parler de ton travail récent avec le danseur et chorégraphe Jean-Christophe Boclé sur l’expérience de la mémoire en danse? [00:36:36] Quelle mémoire as-tu du début des années 1980 en France, période charnière où ont émergé au même temps la “danse baroque” et la “nouvelle danse française”? [00:41:29] Est-ce que les danses dites “anciennes” faisaient partie de la formation à l’école de l’Opéra de Paris? [00:43:19] Quelle était ta vision de la danse baroque dans les années 1980, et quelle est-elle aujourd’hui? [00:47:44] Pourrais-tu parler de ton expérience artistique avec Wilfride Piollet et Jean Guizerix? [00:56:14] Pourrais-tu définir la notion de style? [01:00:57] Quand tu transmets une pièce, comment tu t’y prends pour inclure ce que tu appelles “la vibration stylistique dans la transmission de l’unité motrice”? [01:07:14] As-tu développé des mnémotechniques tout au long de ta carrière d’interprète? [01:09:06] Est-ce que tu portes en toi la mémoire de pièces que tu as dansé dans les années 1970-80? [01:12:50] Est-ce que tu as toujours pris des notes sur le processus de création? [01:15:58] Est-ce que quand tu étais danseur à l’Opéra de Paris l’institution prenait en charge la conservation de la mémoire, alors qu’en tant que danseur autonome tu as dû trouver tes propres moyens pour conserver la mémoire? [01:19:39] Quelle est la place de la danse baroque dans les structures d’enseignement dans lesquelles tu as été impliqué à différents titres?