Artistic ensemble of Laterna magika
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Jean-Pierre Aviotte |
| Choreographer |
Jean Pierre Aviotte was born in Lyon. He starts dancing in the age of 12 years at the Conservatory of Nice under the leadership of Lycette Darsonval. He attends Rosella Hightower s courses in the International Dance Center in Cannes (1975). In 1979 he enters Roland Petit s National Ballet of Marseille and in 1982 became its soloist. In 983 he ranked among the best dancers of the company and Roland Petit gradually entrusted him with the majority of the leading roles in his repertory, such as: Le Jeune homme et la mort, L´ Arlésienne, Carmen, Les intermittences du coeur - Proust remembered, Notre Dame de Paris (Phoebus). He appeared beside famous ballet personalities like Paollo Bortoluzzi, Natalie Makarov, Dominique Kalfouni and Patrick Dupot in many other unforgettable productions. He guested in the Milan‘s La Scala, Rome‘s Opera, in Metropolitan Opera in New York and Deutsche Oper in Berlin. His career as a choreographer began in April 1988 when he took part in some ballet parts of the production „TOUT SATIE”. In November 1988 and April 1989 he was offered by Roland Petit to work on two choreographies: Instrumental 3 for ballet Valentine's Love Song in Marseille and Ravel‘s L'Adagio Concerto in sol G-dur for Biennale in Venice. His first ballet BIRDY, with Julius Bocca and Alessandra Ferri in leading roles, was produced in Buenos Aires in September 1990. He participated on a remake of a choreografy for a Laterna magika performance of Odysseus in 1993 and he created a choreography for Casanova in 1995. In September 1996 Josef Svoboda, an artistic director of Laterna magika in Prague, offered him to work with him on an artistic management of the theatre. Thus, in 1996 they produced a performance called Puzzles together. His creative style and unique choreographic mode draws on a classical ballet technique but is enriched by markedly original elements. With his French elegance, charm and personal invention he manages to inscribe into his choreographies certain poetry of gesture and step and thus enable us to perceive the dance as an enchanting and “pure act of metaphor” (Paul Valéry). |
