Cultural circles are wondering regarding the future of the Béjart Ballet in Lausanne (BBL), as the company made its big comeback on Friday evening at the Théâtre de Beaulieu for six performances. Shows presented in a particular context.
In October 2021, an audit report revealed a series of “human resources and communication malfunctions” within the BBL Foundation.
A little over a year following the serious crisis that shook the institution, the company is back with Lausanne audiences.
>> Read regarding it: A new governance for the Béjart Ballet Lausanne following the audit
But the earthquake left its mark. And in cultural circles, voices are raised. They question the legacy of Maurice Béjart, who died in 2007. And wonder if the BBL, which benefits from 5.3 million francs in aid from the City of Lausanne, still has all its raison d’être in its form. current.
“Local” tour
First observation, the next dates of performances of the prestigious ballet are held in very local places. Alongside a few dates abroad – Antwerp or Milan – the troupe will dance in Cossonay, Mézières (VD) or in the Friborg town of Guin. Rooms far from the circuit of the big dance companies to which the company had accustomed us.
In addition to the strong franc and the Covid which thwart trips abroad, the ballet is driven by the desire to get closer to a more regional audience, assures Solange Peters, the president of the Béjart Ballet Lausanne Foundation.
Criticisms once morest the BBL
A reassuring speech that contrasts with the criticisms collected in the circles of dance and tour producers by the RTS.
According to them, the Béjart Ballet would no longer be in tune with its time. The world of dance has evolved since the death of Maurice Béjart 15 years ago.
Cultural players also point to the image damage caused by last year’s crisis. They also criticize the choreographies of the artistic director of the BBL, Gil Roman. Choreographies that are part of the company’s shows alongside Maurice Béjart’s pieces.
The Ballet Béjart is like a museum. But Béjart was not a painter, but a choreographer. He therefore produced living art. And living art, we can’t keep it. It has to evolve, otherwise the productions of the Ballet Béjart will taste a bit dusty.
Many, on condition of anonymity, recognize that the Béjart Ballet has marked its time, but that today we must do something else with its creations.
This is the opinion of Pius Knüsel, the former director of Pro Helvetia. “Ballet Béjart is like a museum. But Béjart was not a painter, but a choreographer. He therefore produced living art. And living art cannot be preserved. that it evolves, otherwise, the productions of the Ballet Béjart will taste a bit dusty.”
For this specialist in cultural policy, we must now reform. “We have to come to a simple and clear conclusion: we are transforming the Ballet Béjart into the Ballet de Lausanne, so that Lausanne would have a ballet company that knows how to dance everything that is current and everything that interests the general public, not just amateurs. of Bejart.”
What future for the school?
Regarding the BBL school, many are wondering if it will reopen. Its closure a year ago was a key episode in the crisis that shook the institution.
Following the complaint of young dancers, the director of the Rudra-Béjart school was dismissed for humiliating behavior, then the school closed.
A resounding audit followed. As for the artistic director Gil Roman, the investigation pointed to unacceptable behavior. But he remained in office and was reframed.
“Maurice wanted a school”
Solange Peters promises that the school will reopen. According to her, we must respect the will of the deceased choreographer.
“Maurice wanted there to be ballet, and he wanted there to be a school. He wanted us to be able to identify the best dancers, no matter where they came from. He wanted the dancers to have a chance to learn to dance Béjart and eventually find yourself in the world of ballet,” she explains.
“I would feel, as president, in the betrayal of what he put in his will if I said to myself, all alone, in my corner, that we can drop school”, concludes Solange Peters.
New school in 2024
This new school is expected to see the light of day by 2024. According to Solange Peters, Gil Roman would now be the artistic director.
This school would no longer be free, because it will require financial income since the Foundation assures that it will not ask for a penny more from the city of Lausanne, which subsidizes the BBL Foundation.
Moreover, for the first time in a long time, Lausanne’s strong support for the institution was the subject of questions to the municipal legislature.
The PLR wanted to cut the grant of 200,000 francs, the amount allocated to the school, since it no longer exists. But in the end, the assembly voted to maintain the entire subsidy for the BBL Foundation. The elected officials reiterated their attachment to Béjart, but want to be more informed regarding what is happening there.
Position of the city of Lausanne
For the syndic Grégoire Junod, who is also vice-president of the Béjart Ballet Lausanne Foundation, it is unthinkable to file down the support of the municipality for the BBL and to pull the plug now, following the crises experienced by the institution. You have to give time to time, he says.
He also believes that the BBL continues to promote the name of Lausanne internationally.
According to him, the BBL thus still has all its raison d’être in the current form. Maurice Béjart’s choreographies represent a heritage to be preserved, according to him. And the company would remain a crowd-drawing blockbuster. In short, the public will have the last word.
What measures?
If the support of the City of Lausanne seems to have been confirmed at this stage, how is the BBL doing? Have audit recommendations been followed? Among these was the appointment of a general manager. In place since September, the latter, Giancarlo Sergi, speaks on Saturday in the 7:30 p.m. of the RTS. He says things have changed.
>> See the 7:30 p.m. topic:
“Me since I’ve been there, I haven’t seen any humiliation, not at all, on the contrary. I see someone (Gil Roman) who motivates people, someone who is there, who is present. There is a very good coordination between Gil Roman and I. It’s really going better and better and the atmosphere is really very good internally with the dancers, who are smiling today, and who are dancing very well”, explains the director.
For the Syndicat suisse romand du spectacle, it is difficult to know if the other recommendations have really been implemented.
According to the secretary general of the Syndicat Suisse Romand du Spectacle (SSRS) Anne Papilloud, “we have no major warning signs, a priori it is going in the right direction. On the other hand, it is true that we have no means to be able to ensure that the recommendations have been followed”, she notes. “When there is a crisis as big as at BBL, more transparent, more proactive communication would be a good thing.”
The Director General replies that the institution is advancing as best it can, and that it is transparent. “Of course, in this phase of restructuring, there is a lot of work, which is put in place, measures too, but it is in any case not the intention of BBL to hide anything, since there is nothing to hide.”
Radio subject: Martine Clerc
Subject TV: Leandre Duggan
Adaptation web: Julien Furrer
