conversations in ten questions 86: Julien Favreau
Julien Faveau, BBL Boléro © Clarissa Lapolla Bari
"A ballet about youth and hope, as hopeless and optimistic as they are. In spite of everything, I believe that 'the show must go on', as Queen would say."
On the occasion of Béjart Ballet Lausanne's tour of Istanbul, we interviewed Julien Favreau, who was appointed artistic director of the company in September 2024. Faveau, who joined Béjart Ballet 30 years ago, has performed many iconic roles as a soloist in the ballets of Maurice Béjart and Gil Roman throughout his career.
After studying classical and contemporary dance at the École Nationale de Musique et de Danse de La Rochelle under Colette Milner, Favreau joined the École-Atelier Rudra, the ballet school founded by Béjart, in 1994. The following year, Favreau was recognised by Béjart and joined the company, performing in roles created especially for him by Béjart.
Now, we leave the floor to Favreau to get to know him better, to hear about his plans in his new role at Béjart Ballet Lausanne and to find out more about Ballet for Life, which will be performed in Istanbul.
What do you think is the essence of dance?
The essence of dance lies in the truth of movement—the ability to express emotions, sensations, and ultimately, to reveal oneself. Through authentic movement, dancers can uncover their inner world, share their deepest feelings, and connect with others in a way that words often cannot. Dance is both a form of self-discovery and a universal language that transcends boundaries.
Do you believe in the transformative power of art? In what way?
Absolutely. Art has the unique ability to transform both the artist and the audience. A role you dance at 20 takes on a completely different meaning when you revisit it later in your career. As you grow, the role evolves with you, and in turn, you shape the role through your own experiences. Art offers something deeply personal, yet when fully embraced, it becomes an exchange—between the performer and the piece, between the piece and the audience. It can challenge perspectives, evoke emotions, and create connections that leave a lasting impact.
Is there an artist or person who you think has influenced you the most? And if so, who?
Maurice Béjart, without a doubt. As an artist, a creator, and a visionary, his world and the people he surrounded himself with left a profound impact on me. I had the privilege of spending 15 years by his side, an experience that shaped not only my artistic identity but also my understanding of dance as a means of storytelling and human expression. The diversity of roles he entrusted me with significantly enriched my creative approach.
Considering the current state of the world in every sense, what is the most important and urgent issue for you as an artist?
Keeping art alive. Dance, music, painting, literature—all forms of artistic expression must be preserved and nurtured. While honoring artistic heritage is crucial, it is just as important to encourage new creation in these fields. Preserving cultural landmarks, such as opera houses and historic theaters, is equally vital. Art is what defines and unites us as human beings; it must continue to inspire and evolve.
Bejart has countless works. Some of these are well-known works, some are less known and less staged. Bejart Ballet Laussane travels the world by re-staging selections from this heritage. You have been the artistic director of Bejart Ballet Laussane since 2024. How do you handle Bejart's artistic heritage, how do you create programs for dance evenings? For example, we know that the program titled Bejart, 3 Regards, consisting of Bejart's rarely staged works, was created by you. How did you choose to bring these works together and create this program?
My artistic choices are influenced by audience demand, tour schedules, the company’s needs, and the dancers I have at my disposal. My goal is always to highlight both the dancers and the choreographies. With Béjart, 3 Regards, I wanted to contrast three of Béjart’s works, each representing a different musical style, era, and choreographic language, to showcase the richness and diversity of his legacy. These three ballets are particularly meaningful to me, as I have performed them myself. Some had not been staged in over 20 years, making it all the more important to bring them back to life.
The French name of the work Bejart Ballet Laussane will stage in Istanbul is Le Presbytère n'a rien perdu de son charme, ni le jardin de son éclat (The Presbytery has lost none of its charm, nor the garden of its brilliance), its title in English is Ballet for life. Why is there a difference between the two? What does the work tell from your eyes, can you tell us a little?
The original French title comes from The Mystery of the Yellow Room by Gaston Leroux, where it serves as the solution to a riddle. Béjart found the phrase poetic, musical, and evocative. Additionally, there is a subtle nod to Lausanne, as the BBL studios are located on Chemin du Presbytère. However, in English, the phrase did not carry the same resonance, so Béjart chose Ballet for Life, which directly reflects the essence of the work.
This ballet speaks of mortality, but it is ultimately built on themes of hope and youth. It is a tribute to Jorge Donn, Freddie Mercury, Mozart, and Gianni Versace—artists who left their mark on the world but were taken too soon. Despite being created 30 years ago, the piece remains timeless because its music continues to resonate. The compositions that endure are those whose musical scores transcend generations—like Boléro or Beethoven’s Ninth Symphony.
We know that Bejart has specially created significant roles for you as a dancer. Is there a difference between having been a performer in these works at that time and re-staging them as the artistic manager of the company now?
It is a fundamental part of my role as artistic director to pass on knowledge and experience. I rely on my years as a dancer, the time I spent in the studio with Maurice, and the countless hours I spent absorbing his creative process. I also turn to archival footage, as I have not danced every ballet myself, and I do not hesitate to seek insights from former dancers and collaborators who worked directly with Béjart. The responsibility of ensuring the authenticity of his works while allowing them to live and breathe through new dancers is something I take very seriously.
After Bejart died, Bejart Ballet Laussane has sometimes ordered works for choreographers, and the company has a serious repertoire in this respect. What are your thoughts on this? Will you continue to order new works?
Absolutely. One of BBL’s missions is to remain a space for artistic creation and evolution. I plan to continue commissioning new works, typically one to two times per season, according to my artistic vision. While these works are premiered in Lausanne, they are always intended to go on tour, allowing them to reach audiences worldwide.
Gil Roman, the former dancer and the artistic director of Bejart Ballet Laussane before you, also created choreographies. We know that in some of them, you participated in creations. Do you have your own works? Or, do you plan to create new works of your own?
I am not a choreographer; I am the artistic director. I was appointed to this role by the BBL Foundation Board for my artistic vision and my ability to guide the company into the future. I have a clear direction for where I want to take BBL, and starting next season, Gil Roman’s choreographies will no longer be part of the company’s repertoire.
Is there anything special you would like to tell the Istanbul audience before they experience the performance?
For both me and the company, returning to Istanbul is incredibly meaningful. It is a privilege to perform here again after so many years. Our goal is to share Béjart’s work and introduce it to a new generation, performed by a new generation of dancers. Ultimately, this is about experiencing a show—audiences should come to feel something, to be moved, to live the moment.
[The version in Turkish published on unlimited.]
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