University of Rochester
Trained in classical and contemporary dance in Lyon, Hubert Hazebroucq works with several contemporary companies; in particular he worked with Kilina Crémona from 2002 to 2007. He holds the Diploma of State of Professor of Contemporary Dance.
Since 1998, he has specialized in Renaissance and Baroque Dances, in particular with L'Eclat des Muses Company / Christine Bayle (Paris); for these companies, he interprets the repertoire and re-creations around the Comédie-Ballet and the Ballet of Court (including the Ballet de la Merlaison, 2011). He was introduced to baroque theater gestures and trained by Barbara Sparti in the styles of the Italian Renaissance (XVIth and XVIIth century). He has also danced for several other companies and of historical dance choreographers (Lieven Bart - Italian Renaissance, JMB Cie, Fantaisies Baroques, Divertimenty ...).
Since 2008, he has directed Les Corps Éloquents , which offers both standard repetory stagings and performances with a contemporary perspective. Among other things, he created in 2013 Le Bal des Diplomates, histoire dansée de la Paix d’Utrecht de 1713 (Printemps des Arts of Nantes, Festival of Utrecht), Dancing for the Duke ( Boughton House, 2014), Bals et Ballets pour Louis XIV /Autour des Caractères de la Danse (Levallois, 2015).
He has choreographed for several musical ensembles such as Le Jardin des Délices d'O. Camelin (L’homme instruit par le Spectacle, Le Puy, 2013), Miguel Henry's Compagnie de l'Aune and Akiko Veaux ( Rosaces, Vanves, 2013), as well as for Patrick Blanc's Passo finto (Dancez Noelz, Strasbourg, 2014).
He holds a Master's degree in Letters and a second Master's degree in musicology specializing in Ball dancing around 1660 (Director B. Porot, Reims). He is a member of the Board of the Association for a Research Center on the Performing Arts in 17th and 18th centuries. He also participated as an independent investigator in several research programs and has been invited to speak in several international symposia and publish his works: Le Corps en scène (Versailles / Nantes 2009), Symposium French Gesture (Utrecht, 2010), "Watteau…Caractères de la Danse" (Valenciennes, 2010), Le Corps en Scène (Nantes, 2011), Cesar Seminar (Oxford, 2011), Rothenfelser Tanzsymposion 2012 and Versailles (SAARC / CMBV, 2012), Danse et musique, l’art de la rencontre (Lyons Conservatory, 2013), International Conference Rameau (Oxford, 2014).
On several occasions he has recieved funding from the l’Aide à la Recherche et au Patrimoine en Danse, and from the Centre National de la Danse, in 2011 for his personal research on a German treatise from 1659, in 2013 as an assistant to C. Bayle to study the treatises from the beginning of the 17th century, and in 2014 with Irène Ginger for an electronic processing of the repertoire noted according to the Feuillet system.
He has taught styles and repertoire from the 15th through the 18th centuries to a variety of audiences: professional dancers, particularly in the Baroque dance vocational training of the Divertimenty Company, or amateur adult groups (especially in Germany at the Burg Rothenfels, Bad Rappenau, and Austria). He frequently oversees the training of dancers at conservatories (CRD of Créteil, CRR of Cergy), at the same time he also trains dancers the ancient dances of musicians (CRR of Boulogne, CRC of Levallois, etc ...).
Since 2002, he has been a regular dance teacher at Renaissance dances, as part of pedagogical projects or with various musical ensembles (Ensemble Entheos (Benoît Damant), Le Jardin des Délices , Ensemble Artémis, Ensemble Tourmaline - Carine Moretton ...).
Translation by Kevin Bryant
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