Benjamin Millepied

L.A Dance Project is a program of events founded by renowned choreographer and dancer Benjamin Millepied. Its premiere performances commissioned by Glorya Kaufman presents Dance at the Music Center are scheduled for September 22 and 23, 2012 at Walt Disney Concert Hall at the Music Center. Millepied founded L.A Dance Project as an art collective together with composer Nico Muhly, art consultant Matthieu Humery, producer Charles Fabius and film producer Dimitri Chamblas.
L.A Dance Project’s goal is to create new work and to revive seminal collaborations from the past. Programs will include full-length evenings in traditional theater venues as well as various modular performances in non-traditional environments. L.A Dance Project presenting partners : Los Angeles Music Center, Théâtre du Châtelet – Paris, Maison de la Danse – Lyon, Sadler’s Wells – London.

LA Dance Project, founder Benjamin Millepied


Photo :Bach Studies




Premiere on May 23rd, 2013 at Théâtre du Châtelet, Paris

Choreography : Benjamin Millepied

In collaboration with Julia Eichten, Charlie Hodges, Morgan Lugo, Nathan Makolandra, Amanda Wells

Music : David Lang

Visual Concept and Costume : Barbara Kruger

Lights  : Roderick Murray

Piano : Adrew Zolinsky

Length: 40 minutes

Piece for 5 dancers

Donor Recognition Van Cleef & Arpels

Reflections is conceived as a true artistic collaboration, not only between choreographer Benjamin Millepied, composer David Lang and artist Barbara Kruger, but also between Millepied and the dancers of L.A. Dance Project. 

Commissioned by Van Cleef and Arpels as the first part of a Triptych "Gems", to be completed by two completely different artistic teams under the supervision of Millepied, Reflections premieres at the Théâtre du Châtelet in Paris, France on May 23, 2013. 

The stark essentiality of Kruger's artwork captures the sensuality and ephemeral feelings of longing and desire, which runs through all of Millepied's work. David Lang's minimal score for piano solo is a unique selection from This was written by hand/memory pieces, carefully chosen by Millepied and Kruger during the collaborative workshop process in Los Angeles and performed by Andrew Zolinsky for Cantaloupe Records.




Premiere on Septembre 22nd, 2012 at The Walt Disney Concert Hall, Los Angeles

Commissioned by Glorya Kaufman Presents Dance at the Music Center, Los Angeles

Choreography : Benjamin Millepied 

Music composition : Nico Mulhy

Visual Installation : Christopher Wool 

Costumes : Design Kate and Laura Mulleavy from RODART 

Lighting Design : Roderick Murray

Length : 25 minutes

Piece for 5 dancers and 2 musicians



Premiere on September 17th, 2013 at Maison de la Danse (Lyon)

Choreography : Justin Peck

Music : Bryce Dessner, with the agreement of Chester Music Limited, recorded by eight blackbird

Lights : Brandon Stirling Baker 

Costumes : Justin Peck

Visual concept : Sterling Ruby (command of the L.A Dance Project for the Théâtre du Châtelet)

Duration : 20 minutes

Piece for 6 dancers



Murder Ballades was written for and recorded by eighth blackbird at the Museum of Contemporary Art in Chicago on May 2-3, 2013.  Murder Ballades was commissioned by eighth blackbird and Lunapark and funded by The Doelen Concert Hall, Rotterdam, Muziekgebouw aan 't IJ, Amsterdam, and Muziekgebouw Frits Philips, Eindhoven, with the financial support of The Van Beinum Foundation, The Netherlands, with additional support from Museum of Contemporary Art, Chicago.


"For quite some time I have wanted to examine the strange and rich tradition of American Murder Ballades. As Justin Peck and I started to consider ideas for our first collaboration on a new work for L.A. Dance Project, I started to examine various strands of American music, both folk and classical, popular and sacred. Around the time I was working we had the horrible tragic shootings in Aurora and Sandy Hook and I started to think about the nature of violence in American Identity.  The American murder ballad tradition is based on an older European tradition of recounting the details of murders through song. The American tradition over time took on its own localized vernacular, with various stories (often based on similar events or even the same melodies) being told and re-told over the generations.  These ballads have long been central to the American folk tradition. In my 'Murder Ballades,' recorded by the American chamber music ensemble Eighth Blackbird, I chose to re-examine several of these old songs and allow them to inspire my own music in response, both within the songs themselves and then in additional movements. " Bryce Dessner



I FALL I FLOW I MELT - Soirée Bach

In my work I have never been one to pursue stylistic continuity. My intention is to respond to the score instinctively, methodically,  and attempt to find its heart and reveal it.  An important part of my interest lies in freeing the dancer, allowing him to explore further the sheer independence and freedom that motivated him to dance in the first place, and allows further discovery and exploration of time and space in its purest form.  In my dances the dancer is asked to focus solely on his own experience. While the audience is present, the artist performance is never directed towards it, the audience should be absent in the mind of the dancer. It is only with a sincere and felt experience of music, of space, and with a sensible emotional response to other dancers,  that the work comes to life and pulls in the interest of the public. Then only, can we truly engage the audience in an experience as profound as the artist. 


I love Bach’s  music  for the sublime beauty of its melodies, the immaculate perfection of the mathematics of the harmonies,  for their unerring, unswerving, yet subtle rhythms, driving onward, like the cosmic pulsation of the mystical motor of the universe. In these Bach Studies I  explore different aspects of Bach’s music. I reference the religious, the ceremonial, I transcribe in my architecture methods of compositions such as counterpoint, canons and fugues -- I did this particularly in the Chaconne, where the single violin has the depth and sound of an orchestra. I am not sure I know of another intimate work for a single instrument to be as monumental.  In the Stokowski transcriptions I explored choreographing in opposition to the musical architecture, seeking no repetitions, no structure, just a free-flowing river of ideas, as if the dancer is improvising in the moment, depicting the ever changing choreography of life. 


I attempt to gather music, dance, lights, into a single experience, focusing on  choreography that doesn’t attract attention for itself in a way that it might take the viewer out of the overall experience, but rather allow him to dive deeper in the sonic experience. 


Before the Passacaglia I felt the need to suspend time with the sound of another composer; David Lang. I often feel the need to bring the old and the new together, and showcase the line of history. Here the voices feel timeless and connected to the rest of the evening by their mystical quality.


Bach’s music is emotional, yet never sentimental. It depicts humanity with piercing depth and truth.  It is filled with life in all its mistery , and hope. The partita no2 is a journey of joy, sorrow, reflection, and one can not avoid feeling its powerful spiritual voice. The Passacaglia to me is the work of a visionary, it is so deep and powerful -- few are the works of art in history that have expressed in finer ways our humanity, our potential for love and compassion, as well as the darkness inherent in our tragedies.






Premiere on April 8th, 2015 at Théâtre du Châtelet, Paris

Choreography : Benjamin Millepied

Original Music : Philip Glass

Costumes : Janie Taylor

Lights : Roderick Murray

Visual concept : Liam Gillick 

Length : 17 minutes

Piece for 8 dancers

Order by Van Clef & Arpels, with the co-production of Biennale de la Danse de Lyon and the L.A. Dance Project



"A propulsive, kinetic stream of movement to Philip Glass’s “String Quartet No. 3 (Mishima),” the as-yet-untitled work offers a glowing display of Mr. Millepied’s craftsmanship — the way he keeps his eight dancers constantly moving through asymmetrical and contrapuntal patterns, surging in and out of groups, separating into solos and pairs. Tiny narratives, emotion, histories, memories are evoked in the way the dancers coalesce and part, the surprise of formations and their dissolution. Everything is unexpected, everything feels serendipitously right. " The New York Times, Oct 3, 2014


Boulogne Billancourt , LA SEINE MUSICALE
01-13-2022 - 01-14-2022 - 01-15-2022 - 01-16-2022 - 01-18-2022 - 01-19-2022 - 01-20-2022 - 01-21-2022 - 01-22-2022

See all companies