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Scaramouche. José Carlos Martínez

SCARAMOUCHE. José Carlos Martínez

Scaramouche is not so much a ballet class for 8-12 year-old children; rather it is everything that could happen en the moments before the teacher arrives, when the pupils really feel free.

  • Choreography: José Martínez
  • Choreographic assistant: Beatrice Martel
  • Music: Darius Milhaud (Scaramouche 1937), Camille Saint-Saëns, Pyotr Ilyitch Tchaikovsky, Ludwig Minkus and rhythms by Bulerías / and bulería rhythms
  • Wardrobe: Agnès Letestu
  • Music Preparation: Scott Alan Prouty
  • Lighting design : Marc Anrochte
  • Pianists: Vessela Pelovska and Michel Dietlin
  • World premiere on 26 March 2005 in a Paris Opera Ballet School show at Palais Garnier.

“It was Brigitte Lefèvre that thought of entrusting me to create a ballet based on composer Darius Milhaud's Scaramouche. Elisabeth Platel commissioned me to do the piece, giving me total freedom with the choreography. I aimed to reunited Scaramouche with the “Commedia dell’Arte,” mixing in all those kinds of repertory ballet dances that children dream of dancing some day.

“It was my first choreography with such young students and, with the aim of getting to know them better, I offered a series of choreography workshops, just as if they were professionals, in which I asked them to do improvisations, based on a theme or a piece of music. As time passed, I saw how they shook off their initial fears and allowed their imaginations to flow without reservations. I took the most interesting offerings they made and wove them into the ballet narrative. Scaramouche is structured like the great classic ballets: the first act introduces the characters, and opens the way for the action to unravel; the second introduces us to a world of dreams (this is the white act); the third is fun and enjoyment. I used all forms of expression—pantomime, repertory dance, improvisations in the spirit of characters from the Commedia dell’Arte—also including their voices and instruments. Agnès Letestu’s wardrobe was based on the classical figurines of the characters from Commedia dell’Arte but she transformed them with more contemporary materials and shapes, while respecting certain specific identifying touches.”