Parisians with an appetite for contemporary dance have been lucky this Spring, with two opportunities to see the work of Hofesh Shechter, first at the Théâtre de la Ville with his junior company, and, from this week end, at the Palais Garnier. In between rehearsals for The Art of Not Looking Back, with the Paris Opera dancers, Bachtrack writer Laurine Mortha caught up with him.
You have been very present on the Paris stages over the last few years, starting with your last creation Grand Finale, which premiered at the Parc de la Villette last June.
Hofesh Shechter: Yes, I have a long and cherished relationship with the Théâtre de la Ville. They took me under their wings around 2010 and since then we have developed a large audience in Paris. The Théâtre de la Ville also has partnerships with other theatres, such as the Parc de la Villette, where we performed Grand Finale last June.Grand Finale is a creation for 10 dancers and 6 musicians and La Grande Halle in the Parc de la Villette was a very exciting venue. It is basically a theatre built within a hangar, with a lot of daylight coming in. The atmosphere of the venue influences the way the audience behaves and experiences a show a lot: if you sit in a posh theatre then you behave in a certain way and if you’re in a rock’n’roll venue then you will behave in another way.
Show was performed at the Théâtre des Abbesses this April, by the junior company Shechter II. Could you tell us more about your Shechter II dancers?
HS: Yes, Shechter II, the young company, is composed of amazing energetic dancers. The idea behind Shechter II is to select young people at the end of their education and give them opportunities and professional experience over a year.
Competition to join must be strong...
HS: Yes, over a 1,000 dancers apply. We found a system where we manage to see everybody over 3 days of auditions. We make a first selection in half-an-hour long sessions where we see 40 dancers at once. Statistically, you could say that out of 1,000 people you will find eight amazing dancers, but, really we saw very interesting people.
Why did you choose to adapt Clowns for them?
HS: I chose an existing work in order to have a solid base, but I also wanted to create with them, to give them the experience of the creative process and being with me in a studio. Clowns felt like the perfect piece for this as it is a very energetic work and it shows the euphoric power of youth. Clowns is a piece with which young people can connect, there is the sarcasm of it, the violence of it. A world is exploding around them. And it is a piece to show them off. Show [the adaptation of Clowns for the young company] is also a conflict between media and violence. In all social media – Twitter, Facebook – there is this idea that it’s all for show and that it’s all a bit of entertainment. That is why I like the name Show.
The Art of Not Looking Back will be performed soon at the Palais Garnier. What is it about and how was the collaboration with the Paris Opera Ballet?
HS: Aurélie [Dupont] came and asked me to collaborate with the Paris Opera. She was really open and said “whatever piece you feel will be right” and I chose this piece for female dancers, created in 2009. In a way, this piece was made to be difficult. I decided to be as honest as possible and something very raw came out. It represents women in a very powerful and animalistic way. I thought it would be interesting to do it with POB dancers and to do it at Garnier, to have something of a beast-like quality in this beautiful venue, something that interrupts the rhythm of the place. But at the same time, this piece is very human and deals with something that happened to me (my mum left when I was two years old) and that is bluntly exposed to the audience at the beginning of the piece. It puts the audience in a conflict because the piece is difficult to watch but it is also real and part of life. It is pathetic, weird and funny all at the same time. It also deals with the relationship between the creator and the created: I am the creation of my mother, this is my creation, the dancers are portraying my mum through my movements. There are many mirrors in the piece.