Interview with Carole Redolfi, general secretary of Ballet Preljocaj
Francis Kurkdjian Endowment Fund: What distinguishes this second edition of the Rencontres from the first? What adjustments have been made?
Carole Redolfi: “The first edition primarily functioned as a laboratory. It was an initial experiment designed to test a new format and to observe the expectations of both young dancers and junior ballet directors.
This second edition follows a process of consolidation and further development. The European network of invited junior ballets has been expanded, with the participation of the Junior Ballet of the Norwegian National Opera, the Royal Danish Ballet School, the Munich Junior Ballet, and IT Dansa from Barcelona.
A regional anchoring has nonetheless been maintained, with the hosting of Cannes Jeune Ballet, a partner of Ballet Preljocaj, as well as the Coline programme, a professional training structure based in Istres.
This edition also marks the inclusion of the Paris Opera Junior Ballet, whose first cohort is being presented in partnership with the Grand Théâtre de Provence.”
Francis Kurkdjian Endowment Fund: How are the choreographers and works presented selected?
Carole Redolfi: “Each junior ballet has its own repertoire. Directors share the works available for the season, and the selection is then made in a way that highlights the uniqueness of each ensemble while ensuring a diversity of styles and techniques.
The programme of the Paris Opera Junior Ballet illustrates this approach, bringing together choreographies by George Balanchine, Maurice Béjart, José Martinez, and Annabelle Lopez Ochoa, combining classical tradition with contemporary choreographic writing.
The Ballet Preljocaj Junior, for its part, presents a revival of Near Life Experience (2003) by Angelin Preljocaj, recreated specifically for young performers. This piece explores bodily states close to trance, while demanding great technical and interpretive rigor.
The collective evenings allow contrasting aesthetics to intersect: from the neoclassical tradition of the Royal Danish Ballet School, represented by a Bournonville duet, to contemporary creations by Cannes Jeune Ballet, the Munich Junior Ballet, the Norwegian National Opera, the Coline programme, or IT Dansa, featuring works by Marco Goecke, Alan Lucien Øyen, Arno Schuitemaker, and Ohad Naharin.”
Francis Kurkdjian Endowment Fund: What role does the “encounters” format (conferences, workshops, masterclasses) play in identifying young dancers?
Carole Redolfi: “This format is central and is intended to be sustained over time. It allows young dancers to meet one another, to engage with other training programmes, and to step outside a strictly academic framework.
They are observed in different contexts: on stage, in shared classes, and during masterclasses, notably those led by Stéphane Loras, Head of Pedagogy and former dancer with Ballet Preljocaj.
This diversity of situations provides a more comprehensive view of the performers, without placing them in the context of a formal audition.”
Francis Kurkdjian Endowment Fund: What impact do these Rencontres have on structuring a European network for young dancers?
Carole Redolfi: “The Rencontres enable both dancers and institutions to better position themselves within the landscape of European junior ballets. They encourage mutual understanding and stimulate the circulation of ideas, practices, and sometimes reciprocal invitations between programmes.
In this way, they contribute to the gradual construction of an artistic and pedagogical network that extends beyond the event itself.”
Francis Kurkdjian Endowment Fund: Have you observed collaborations emerging beyond the Rencontres themselves?
Carole Redolfi: “Indeed, exchanges continue between junior ballet directors, particularly around auditions, pedagogy, or shared projects. These dynamics extend the relationships formed during the Rencontres and strengthen their long-term impact.”
Francis Kurkdjian Endowment Fund: Is cultural diversity a central issue for these Rencontres?
Carole Redolfi: “Diversity is essential. Each dancer arrives with a unique background, sensitivity, and relationship to the body. This plurality enriches interpretation, the creative process, and collective dynamics, particularly within the field of contemporary dance.”
Francis Kurkdjian Endowment Fund: How do these Rencontres contribute to the evolution of the codes of the European choreographic scene?
Carole Redolfi: “They place exchange and goodwill at the heart of the artistic process. Young dancers, often accustomed to competitive environments, find themselves here in an inclusive and collective setting.
These moments of sharing help shape the artists of tomorrow by fostering an open, collaborative, and attentive approach to others.
Bringing together more than one hundred young dancers over nearly three weeks, the Rencontres constitute a major highlight for both artists and audiences, showcasing an emerging generation and encouraging essential exchanges both on and off the stage.”
Francis Kurkdjian Endowment Fund: The appointment of Stéphane Loras as Head of Pedagogy marks an important transition. How was this transition supported?
Carole Redolfi: “Stéphane Loras is a former dancer with Ballet Preljocaj. He has an in-depth knowledge of Angelin Preljocaj’s work and has already collaborated with him on several projects, including at an international level.
His experience, familiarity with the repertoire, and pedagogical skills enabled a smooth transition, without disrupting the dynamics of the training programme.”