Bertrand D'At

Born in 1957, Bertrand learned dance at the Conservatory of Dijon before returning to Maurice Béjart, at Mudra School. He stayed with Béjart until 1993, climbing the ladder, from school to ballet and then post master ballet and even choreographer. He then went to Sweden with the Ballet Cullberg alongside Carolyn Carlson, then took over the management of the Ballet du Rhin in 1997.

In this position, where he will remain fifteen years, he gives his momentum to the company, demanding classical dancers that he pushes at the highest level by making them work himself. Focusing on excellence, he then invites Maurice Béjart and Lucinda Childs with whom he creates a true companionship. She will be signing the latest of her finest pieces for the Ballet du Rhin. But d’At table also on the originality. Those who have seen them will not soon forget the re-readings of great ballets commissioned by the whimsical Jo Stromgren for example.

He excels at telling stories and is one of the few choreographers who can decipher a score. He is passionate about music, and here again, as for dance, he approaches it sensitively and erudite. He choreographed The Prince of the Pagodas by Benjamin Britten, or The Song of the Earth in which he associated dancers and singers.

The beautiful bill of his ballets will allow him to make a career in Asia. Companies from China or Vietnam order him. They are extremely demanding: “Western ballet, in Asia it’s chic!”, He explained. D’At is unmatched in translating local stories and legends into classical ballets. Once again, he listens to the dancers, does not write anything down and guides them to give them a repertoire of their own. A Sign of Love, inspired by In the Mood for Love and created with the help of the scenographer Jerome Kaplan, whom we saw with the Shanghai Ballet in the spring, is probably the best example.

Source : Ariane Bavelier pour Le Figaro, 03/07/14