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CLASSIQUE – Variation n°1 – Épreuves de danse 2025
Florence Leroux-Coléno
CLASSIQUE – Variation n°2 – Épreuves de danse 2025
Mireille Bourgeois-Delcey
CLASSIQUE – Variation n°3 – Épreuves de danse 2025
Aurélia Schaefer
CLASSIQUE – Variation n°4 – Épreuves de danse 2025
Pierre Lacotte
CLASSIQUE – Variation n°5 – Épreuves de danse 2025
Pierre Darde
CLASSIQUE – Variation n°6 – Épreuves de danse 2025
Pierre Lacotte
CLASSIQUE – Variation n°7 – Épreuves de danse 2025
Ryan Kelly
CONTEMPORAIN – Variation n°8 – Épreuves de danse 2025
Élodie Laurent-Koensgen
CONTEMPORAIN – Variation n°9 – Épreuves de danse 2025
Sophie Chadefaux
CONTEMPORAIN – Variation n°10 – Épreuves de danse 2025
Philippe Ducou
CONTEMPORAIN – Variation n°11 – Épreuves de danse 2025
Hervé Robbe
CONTEMPORAIN – Variation n°12 – Épreuves de danse 2025
Sylvain Groud
CONTEMPORAIN – Variation n°13 – Épreuves de danse 2025
Thomas Lebrun
CONTEMPORAIN – Variation n°14 – Épreuves de danse 2025
Marion Ballester
JAZZ – Variation n°15 – Épreuves de danse 2025
Marjorie Auburtin
JAZZ – Variation n°16 – Épreuves de danse 2025
Hubert Petit-Phar
JAZZ – Variation n°17 – Épreuves de danse 2025
Camille Thomas-Konate
JAZZ – Variation n°18 – Épreuves de danse 2025
Martine Curtat-Cadet
JAZZ – Variation n°19 – Épreuves de danse 2025
Carole Bordes
JAZZ – Variation n°20 – Épreuves de danse 2025
Emmanuelle Duc
JAZZ – Variation n°21 – Épreuves de danse 2025
Romain Rachline-Borgeaud
CLASSIQUE - Variation n°3 - Épreuves de danse 2025
Fin de 2ème cycle, garçon - "Envol"
I wanted this variation to be easy for the student to memorise, both choreographically and musically.
With a few Balanchinian borrowings to induce breathing and freedom of the spine, but also the notion of lines or directional gaze.
The powerful chords in the opening give students the chance to assert themselves with a simple port de bras, and the pas marchés in the adage section encourage them to become aware of their breathing as they move.
Depending on the age, years of practice and level of your students, feel free to adapt this variation.
For example, the soubresaut at the beginning can be omitted (leaving room for a tendu plié before the glissade jeté); the number of déboulés to take up the initial theme is up to you and your students. Finally, the tour en l’air at the end can be taken directly after the shortened jeté finished in fourth position, by directly developing the leg in front to piqué ramasser in fifth position on demi-pointes and allowing a considerable amount of preparation time before the final point of the variation.
Wishing every teacher and every dancer good luck with this learning process, always keep in mind the most important thing… the joy of dancing!
Aurélia SCHAEFER