new juror, Marie-Claude Pietragalla replaces Patrick Dupond

TV MAGAZINE. – We are seeing a crossover of star dancers between your arrival on prodigies, competition of music and clbadical dance on France 2 and that of Patrick Dupond, new juror of Dance with the stars season 9, since September 29, 2018 on TF1 …

Marie-Claude PIETRAGALLA. – It's a combination of circumstances because I left DALS two years ago. I am very happy to join Gautier Capuçon (cellist) and Elizabeth Vidal (soprano) in prodigies, a quality program that showcases the visual arts of dance, song and music and raises awareness of the daily work of these young artists accompanied by a symphony orchestra. I was able to talk to Gautier Capuçon by phone. Of course, I'm still in touch with Patrick Dupond, he who appointed me dancer star at the Opera in 1990 and with whom I danced for years. We all have a lot of admiration for each other.

What do you think of the arrival of Daphne Bürki at the controls of prodigies ?

He is a very nice person, who puts people at ease.

What messages do you want to give to these young artists aged 9 to 16?

These children who have chosen these arts of imagination, sensibility and poetry are pbadionate children. Their art becomes for them a necessity, with the daily work that it requires. Like craftsmen, they must constantly put back on the work. I want to tell them that dance is much bigger than artists, that we must remain humble. I started dancing at age 7, I entered the Opera at age 9, I know the way. I am here to give them keys, with benevolence, to accompany them, to give them confidence. (Editor's note: Marie-Claude Pietragalla goes out Star: the sacred fire, volume 3 of his children's books at Michel Lafon, telling the story of a little rat of the Opera).

Does dance have its place in France?

The dance originates from the Royal Dance Academy, a French institution founded by Louis XIV. We are depositary of this chiseled technique, lace. Clbadical dance is a heritage to defend. In Russia and Japan she is placed on a pedestal.

Dance is a necessity for you, could you have exercised another art?

My first teacher cultivated my imagination, making me work improvisation, giving me texts to learn. He loved dancing but also sculpture, theater, literature. This very broad spectrum that had resonances much later, when I left the Opera to take the direction of the National Ballet of Marseille in 1998 and when I created the company of the Pietragalla-Derouault Corps Theater, at the origin of shows combining organic theater and theatrical dance.

Will you welcome young prodigies in your company?

We opened in September the School of the Theater of the body. We offer lessons for children from 5-7 years old, adults and all fans dreaming to become actors-dancers.

How do you come to declaim a clbadical text while dancing when you know the importance of the breath?

We have developed, with my husband Julien Derouault, specific techniques to put the verb and gesture in resonance. From the 1st to the 10th of February 2019 we will present Lorenzaccio, according to Musset's work, at the Salle Pleyel in Paris. The text of this romantic drama rooted in the city of Florence, baroque and decadent, allows to tackle the power games of a humanity in loss of reference and in search of absolute. Theater, dance, 3D images and electro music blend into one intense whole.

Saturday, October 27, Arte gives you carte blanche, what is it?

I realize for the first time a documentary, Body and soul as part of Square Artist, which proposes to unveil the artist through a person of his choice. I chose our osteopath and friend, Pierre-Yves Martin, who follows us on all our shows. He saw himself removed near Marseilles, in the mountains, in an old monastery turned into a guest house and spiritual retreats. His mailbox is five kilometers from his home! "To enter into movement is to enter into meditation," said Maurice Béjart. We sometimes came on stage thanks to this therapist of the soul and the atypical body.

It is this strength of soul that allows you to dance again?

The strength to keep dancing comes from the mind. At each age come beautiful things. Do not look back with nostalgia but take full advantage of this familiarity with the art of the stage, an additional wealth. The pain is an intimate part of the life of a dancer, it is accepted since childhood but exceeded and sublimated by our art. I will present the next season only one on stage, The woman who dances, to celebrate forty years of scene. I return to my background, my influences and dance, a sacred art that has filled every moment of my life as a woman.