Artistic Director Bruno Bouché


Founded in 1972, the Ballet du Rhin, which has since become the Ballet of the Opéra national du Rhin, has journeyed far. From Strasbourg to Mulhouse firstly where it settled in its premises in 1974. In Alsace, France and then the world, it has travelled as an acknowledged ambassador for dance, ever growing through the talent of its successive «bosses»: Jean Babilée, Denis Carey, Peter Van Dyk, Jean Sarelli, Jean-Paul Gravier, Bertrand d’At, Ivan Cavallari and Bruno Bouché from September 2017. Through their personal influence and artistic choices, they have all contributed to turning this company into a dance troupe whose expertise and quality are unanimously acclaimed.

The Ballet of the Opéra national du Rhin is one of the rare French companies to move seamlessly from baroque to modern and from classical to contemporary styles, so that every mode of dance can be appreciated to the full.

The long list of choreographers from Bournonville to Heinz Spoerli, not forgetting Balanchine, Kylián, Béjart, Forsythe and Lucinda Childs, merely serves to illustrate this illustrious journey. Its repertoire also includes classic ballets such as La Sylphide and Giselle and re-interpretations of iconic masterpieces such as Don QuichotteRomeo and Juliete Nutcracker Suite and Coppelia, which act as landmarks for the great 20th-century choreographers, and creations solicited of both young choreographers and seasoned artists.

The company consists of a troupe of 32 permanent dancers from the world over, who, in addition to their solid academic training, must be able to take on board and explore in depth a broad variety of styles.

BRUNO BOUCHE entered the Dance School at the Opéra national de Paris in 1989, and was later recruited into the Corps de Ballet of the Opéra national de Paris in 1996 as a Quadrille, Coryphée and Sujet in 2002. Since 1999, he has been the Artistic Director of Incidence Chorégraphique, which produces choreographic creations for the dancers of the Ballet of the Opéra de Paris, which are regularly performed in France, Spain, Italy, Japan, in Israel and in Turkey. He has signed several choreographies since 2003, including Elegie, Nous ne cesserons pas and From the Human Body. He created SOI- Ătman and Music for Pieces of Wood for the Opéra national de Paris in 2013, Yourodivy in 2014, Amores 4 and Dance Musique 3-2-1 in 2015. Undoing World in 2017. He worked with the artist JR for his lm Les Bosquets, and a lm shoot on the roofs of the Opéra Garnier. For Israel Tour 2015, he created Between light and nowhere at the Suzanne Dellal Centre in Tel Aviv. In 2013, he took over the artistic direction of Les Synodales Festival in Sens, and for the dance season at the municipal theatre and the contemporary choreographic competition for young dance companies. In 2014-2015, assisted by Laura Gédin, he undertook the choreographic programme “Ten months of school and Opera” and created Ça manque d’amour. During the 2015-2016 season, Benjamin Millepied asked him to take part in his rst Choreography Academy at the Opéra de Paris. In July 2016, he was appointed Director of the CCN/Ballet of the OnR. He o cially takes up the position of Director in September 2017.




Piece for the entire company Premiered in 2010 at the Leipziger Ballet

Choreography and lighting

Mario Schröder


Charlie Chaplin, John Adams, Ruggero Leoncavallo, Alfred Schnittke, Kurt Schwertsik, Peteris Vasks, Colin Matthews, Johannes Brahms, Hans Werner Henze, Charles Ives, Richard Wagner, Benjamin Britten, Samuel BarberSet design and costumesPaul Zoller

Ballet of the Opéra national du Rhin

Show performed with recorded musics Duration 1 h 30 without interval

Director of the Ballet of Leipzig, choreographer Mario Schröder wanted to pay homage in 2010 to the person who inspired him with a desire to dance when he was a child - none other than one of the greatest artists of the 20th century: Charlie Chaplin. We are reminded of emblematic episodes in the life of this genius actor and creator thanks to the Ballet’s 32 dancers. A journey fraught with pitfalls, a strong determination to succeed, a quest for perfection and, nally, acknowledgement that in just a few years turned him into one of the most powerful gures in Hollywood. Yet, through laughter and tears, Chaplin perfectly analysed and distilled for us the follies of our modern world. Chaplin was a great success when premiered in Leipzig. With his walking stick and bowler hat, a universal gure makes his entrance in the repertoire of the Ballet of the OnR.

Mario Schröder has invented for many years with the 42 dancers of the Leipzig Ballet a work of quality recognized by professionals and welcomed with fervor by the public of Leipzig. Without denying the aesthetic contributions of his academic training and his career as Principal Dancer of the Leipzig Ballet, notably with Uwe Scholz, he knew how to mark with a singular imprint his choreographies which transcribe modern aesthetic concerns and express emotions of today. His creations are nourished by his training in German dance and theatricality, especially at the Ernst Busch Berlin Academy of Dramatic Art, but also by in uences of psychological narration and physical engagement which recall the energy of Swedish choreographers (Culberg Ballet, Mats Elk, etc.). He chooses scores and builds rich musical dramaturgies thanks to an extraordinary musical culture, from Rachmaninov to Philip Glass, including e Doors.

With Chaplin, Mario Schröder signs a ballet with historical references displayed. is source of inspiration con rms the style of the choreographer in a choreographic language fully playing the contemporary card. He draws a modern Chaplin by carrying history in a timeless climate, out of myth, where Chaplin is no longer a romantic protagonist, but the emblem of a society which, beyond the eras, remains in perpetual con ict. In search of recognition and constantly in creation, Chaplin traces his path between passions and impulses, between desires and necessities. In the sets of Paul Zoller, the viewers feels like they are in a cinema from the 1920s, which provides the ideal setting for the quest for man and artist. e musical choices are of an exceptional variety: Charlie Chaplin, Arvo Pärt, Benjamin Britten, Samuel Barber, John Adams and Richard Wagner.

Bruno Bouché
Artistic Director of the CCN • Ballet of the ’OnR

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