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  • Foto/Picture: Jesús Vallinas
  • Foto/Picture: Jesús Vallinas. Bailarines/Dancers: Kayoko Everhart & Isaac Montllor
  • Foto/Picture: Alba Muriel
  • Don Quijote Salto Torero Rodrigalvarez
  • Artifact Suite. William Forsythe - Foto/Picture: Jesús Vallinas
  • Carmen. Johan Inger - Foto/Picture: Jesús Vallinas. Bailarines/Dancers: Kayoko Everhart & Isaac Montllor
  • Por Vos Muero. Nacho Duato - Foto/Picture: Alba Muriel.
  • Don Quijote.José Carlos Martínez - Foto/Picture: Rodrigálvarez

José Carlos Martínez's Pictures

AT THE PINNACLE OF WORLD RENOWN

Throughout his long and varied career, our own versatile and inimitable dancer, José Carlos Martínez, has wowed us with his breathtaking interpretations of major dance parts from classical and contemporary repertoires alike.

But his talents are not limited to his role as a dancer. Rather, drawing on that experience, José Carlos Martínez also makes his own choreographies. One of his own pieces, Les Enfants Du Paradise, has positioned him at the pinnacle of world renown by way of the much coveted Benois de la Danse; considered the Oscar of the dance world.

Below, you can find a selection of photos of José Carlos Martínez as dancer and as choreographer.

Archive. José Carlos Martínez Choreographies

José Carlos Martínez Biographie

Directeur artistique de la Compañía Nacional de Danza

José Carlos Martínez Portrait. Photo: DcropieOriginaire de Carthagène en Espagne, José Carlos Martínez se forme dans sa ville natale sous la tutelle de Pilar Molina, puis au Centre de Danse International Rosella Hightower de Cannes. En 1987, il est lauréat du prix de Lausanne et intègre l’Ecole de danse de l’Opéra de Paris, puis en 1988 il est choisi par Rudolf Noureev pour rejoindre le Corps de Ballet de l’Opéra de Paris. Il devient Sujet, puis Premier danseur en 1992 et est nommé Etoile en 1997 à l’issue de La Sylphide. Il se fait tour à tour l’interprète de princes lumineux de monarques plus sombres, tel que Nosferatu de Jean-Claude Gallotta, ou Ivan Le Terrible de Louri Grigorovitch. Remarqué par les chorégraphes contemporains, il crée notamment Pas/parts de William Forsythe (1999), ainsi que Giselle et Appartement de Mats Ek.
Chorégraphe, il signe ses premières créations en 2002 avec Mi Favorita, sur les musiques de Gaetano Donizetti, et en 2003 avec le pas de deux Delibes Suite, puis en 2005 avec Scaramouche, ballets qui sont respectivement repris pour les spectacles « Jeunes danseurs de l’Opéra de Paris » en 2003 et 2006. En 2005 il crée au Japon Parenthèse 1, un solo pour Laëtitia Pujol et, en 2006, Soli-ter, une pièce pour l’Opéra de Paris. José Martínez présente en 2007 au Musée Picasso de Malaga, El odor de la Ausencia (L’Odeur de l’Absence), un duo sur fond de guerre d’Espagne. En 2008, l’Opéra de Paris lui commande Les Enfants du paradis, vaste fresque adaptée du film de Marcel Carné sur une création musicale de Marc-Olivier Dupin. A la suite de cette création, il en revisite le 2ème acte (intitulé Robert Macaire) et crée en 2009 Scarlatti – Pas de Deux, sur les Sonates de Scarlatti. En 2010, il crée encore Marco Polo –La Dernière Mission, pour le Ballet National de Shanghai.
Il est depuis 2011, directeur de la Compañia Nacional de Danza d’Espagne où il crée Sonatas (2012), Raymonda Divertimento (2013) et Don Quichotte (2015). Il crée aussi Resonance pour le Boston Ballet (2014). Recompensé de nombreuses fois pour sa carrière d’interprète, il reçoit le Prix National de la Danse en Espagne en 1999, et a été fait Commandeur des Arts et Lettres.

CND Project Presentation

  • José Carlos Martínez Portrait

THE CND’S NEW PERIOD WILL MIX CLASSICAL AND VANGUARD DANCE

A chief company aim is to help people everywhere understand dance and to make it part of their leisure and culture
  * by José Carlos Martínez
[José Carlos Martínez] Directing the Compañía Nacional de Danza is a challenge and opportunity that thrills me. The profession needs a company open to all, drawing in creators and professionals around an artistic venture built on a training regime that incorporates numerous dance styles. The CND needs to be much more present on our country’s future artistic scene, offering major works from the bigger choreographers of present and past, as well as sticking its neck out with more contemporary creations. In its new phase, the CND of course needs to be a homogeneous company, but with a wide repertoire drawing in a variety of techniques and artistic offerings; a company where classicism and the vanguard meet and mingle.
Offering a wider range will enable the Spanish audience to appreciate choreographies they have never seen before from a Spanish company. Such works will not only contribute to strengthening audience loyalty but will also bring in new audiences. Classical and neoclassical vocabulary will enter the company’s repertoire over time. As well as dancing the major neoclassical works of the XX Century, dancers will be able to interpret both existing works or new creations from choreographers working with academic vocabulary. New CND dancers will be required to work on the same lines the company has worked on to now, in part—but they will do so with a view to attaining our future goals, meaning they must also work with all different kinds of styles. The dancers will need a strong academic base while being able and open to innovative ideas and techniques, as the overall project is an integral one, albeit based on diversity. With the XXI Century in full swing, we need to forget the age-old dialectic confrontation between classical and contemporary. At this point in history, the wall separating both disciplines should disappear. The aim is to produce quality dance, unleashing all the body’s potential. Pointe shoes should be neither a barrier nor an archaic element. It is very important for classical and neoclassical dance to form part of our heritage, as with the Escuela Bolera. Today’s dancer, with proper training, should be able to switch between pointe and flat and semi-pointe, as is the case in most of the world’s great companies. That also enables the company to offer the Spanish audience the chance to see dancers from outside Spain who, in many cases, have hardly danced in our country. CND 2 will once again be a young company, made up of people as young as 17 and 18, who will be finishing their academic studies, Their classical vocabulary will be intact and so, when they enter the CND, their versatility will enable them to take on pieces from a wide stylistic spectrum. For its part, the CND’s repertoire must encompassworks from the world’s most renowned choreographers, including William Forsythe, Mats Ek and Jirí Kylián, as well as Wayne McGregor, Paul Ligtfoot and Sol León, Jorma Elo, Anjelin Preljocaj, Stephan Thoss and Johan Inger. We will also have in our ranks internationally successful Spanish choreographers who will discover in the CND an additional platform, enabling them to exhibit their own pieces in Spain. And, of course, the company will provide a springboard for our own domestic artists, whether they work at home or abroad. And we will stick our necks out to back new creations, thus providing an opportunity to young talent to exhibit their work in and outside Spain. One element that cannot be allowed to slide is the CND’s teaching and training vocation. Our objectives include conserving, divulgating and transmitting our heritage of dance. We must not ease up in our efforts in promoting and raising awareness of the importance of dance throughout the educational community. Introducing dance to youngsters and helping them understand it and integrate it as part of their leisure and culture is a key company goal. In order to carry out all our projects, we can count on the collaboration or the Teatro de la Zarzuela (Zarzuela Theatre). Here, we are able to exhibit a range of programmes throughout different seasons enabling audiences to experience the company’s new artistic line. With help both from the profession and the public, we will work with our sights set on a future in which this is a real National Company and one which grows higher branches and deeper roots to become a real reference point, not only for immediate future but also for the next ten to fifteen years and beyond.

MASTER PLAN 2011-16

THE COMPANY SECTIONS

  • 1

Tickets

    • Carmen. Johan Inger

    • A CORUÑA (SPAIN)

    • PALACIO DE LA ÓPERA
    • 22 & 23 November, 2019
    • Buy your tickets to see the CND in the Palacio de la Ópera
    • Don Quixote by José Carlos Martínez

    • MADRID (SPAIN)

    • TEATRO DE LA ZARZUELA
    • 10 to 22 December, 2019
    • External link to buy your tickets to see Carmen by the CND
    • The Nutcracker. José Carlos Martínez

    • SEVILLA (SPAIN)

    • TEATRO DE LA MAESTRANZA
    • 9 to 12 January, 2020 - 20h
    • External link to buy your tickets to see the CND
    • Abstract image

    • MADRID (SPAIN)

    • AUDITORIO NACIONAL DE MÚSICA
    • 8 March, 2020
    • External link to buy your tickets to see the CND in Madrid
    • Carmen Johan Inger. Picture: Jong-Duk Woo

    • VALENCIA (SPAIN)

    • PALAU DE LES ARTS
    • 26 to 29 March, 2020
    • External link to buy your tickets to see the CND in the Palau de les Arts
    • Carmen by Johan Inger

    • PERPIGNAN (FRANCE)

    • THÉÂTRE DE L'ARCHIPEL
    • 6 & 7 May, 2020
    • External link to buy your tickets to see the CND in Théâtre de l'Archipel
      • Por Vos Muero. Nacho Duato

      • LUDWIGSBURG (GERMANY)

      • FORUM AM SCHLOSSPARK LUDWIGSBURG
      • 17 & 18 July, 2020

Auditions

  • Auditions. Jardín Infinito. Nacho Duato

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Credits

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All rights reserved. No part of this publication may be reproduced without the prior permission of Compañía Nacional de Danza.

  • Project Coordination: Maite Villanueva (CND)
  • Texts: CND