As an opening to the choreographic season of 2004 - 2005, Brigitte Lefèvre, director of the Dance, wanted to pay a vibrant homage to the corps de ballet of the Opéra de Paris by programming two works which starred the troupe and by entrusting a world première to the young iconoclast, Jérôme Bel, well-known for his shows which are original to the point of provocation, such as The show must go on! which caused a furore when it was presented at the Théâtre de la Ville.

In reply to Brigitte Lefèvre's flattering invitation, the young contemporary creator observed the shows of the Opéra for more than two years, thereby discovering with wonderment a world which had hitherto been unknown to him. Fascinated by the work of the dancers, he decided to create a solo for Véronique Doisneau, a model “Subject” in his view, who symbolised perfectly that elite body which can be admired today by Gérard Mortier, director of the Opéra National de Paris since Hugues Gall's departure this summer.

Véronique Doisneau , the title of this world première which was programmed between Harald Lander's Studies and Glass Pieces by Jérôme Robbins, lends itself wonderfully to this framework and context. In fact, you have to see the discipline of the dancers at the bar or falling impeccably into line in Studies, to successfully grasp the humour and the subtleties of the 30 minute solo.(which is played more than danced), conceived by Jérôme Bel with the complicity of its interpreter. With a mike stuck to her cheek, no make-up, and in a costume for rehearsals, Véronique Doisneau briefly introduces herself: “I'm 41, I've got two children aged 5 and 11, and in a year's time I'll be retiring”. In a natural charming voice she cites her favourite choreographers - Nureyev, with whom her meeting was of fundamental importance to her, Petipa, Balanshin, Robbins and Cunningham - plus those she does not like and the dancers who have inspired her: Yvette Chauvirée, Natalia Makarova and Dominique Khalfouni

Véronique Doisneau reveals her salary as well, and explains good-humouredly “to the audience which is very far away, I apparently look like Isabelle Huppert!” It seems obvious that the - concise - text has been developed by the dancer in answer to Jérôme Bel's questions, and the latter selected the answers while retaining their authenticity. Jérôme Bel, who defines himself in the programme as the “ideas man” and not as the choreographer, has cunningly alternated dance and prose, so as constantly to keep the audience's attention. His solo is a homage to the “Subjects” of the Opéra, to the dancers who blend into the group of twenty four swans, wilis or sylphs.

Jérôme Bel has analysed the role and spirit of an Opéra dancer perfectly and makes us go into the very way of thinking of these artists, particularly in a wonderful irresistible scene, when he picks out one of these impeccably lined up and motionless anonymous swans in full light, while the music makes us imagine the starring couple dancing the Adagio of the second act of Swan Lake (Lev Ivanov's and not Marius Petipa's version). Véronique Doisneau, who strikes a pose and holds it motionless for endless minutes (“It's everything I hate! I want to scream,” she confesses), makes us see Swan Lake differently, and from now on we will not be able to watch this ballet in the same way, or without feeling great admiration for the abnegation of the corps de ballet and its respect for the choreographers.

During this creation Véronique Doisneau hums the music as she dances - which is an even more breathless-making exploit - of the variations of Giselle by La Bayadère and Point in Space . She admits too how much she would have liked to play certain men's roles, like Abderam in Nureyev's Raymonda , and pays homage to a dancer who she particularly likes, Céline Talon, a “sujet” of the Opéra like herself, who suddenly appears to regale the audience with a solo from Mats Ek's Giselle , which she interprets brilliantly.

The audience gave a rightful ovation to this creation which marks Jérôme Bel's entry from the fringes into the temple of classical ballet. Véronique Doisneau is a piece that is sincere, intelligent and sensitive, constructed right up to the final curtain with an innate sense of humour and theatre. The performer can only be congratulated for her courage and magnetic presence, and so can the director of the dance for this daring choice which has exceeded all expectations.

René Sirvin 30.10.2004