'Black Swan's' Benjamin Millepied reflects on his LA Dance Project

While viewers may have only caught a few glimpses of Benjamin Millepied in the Oscar-winning Black Swan, he is arguably modern dance’s most preeminent current dancer. In addition to choreographing that film, he’s won numerous awards and founded the L.A. Dance Project in 2012. The acclaimed group makes their Mainland debut this month with their June 5 show at Shanghai Grand Theatre.

How does L.A. Dance Project differ from other groups?
Our goal is to make dance relevant to new audiences by connecting it to other art forms like music, film, fashion, architecture and visual arts. The Internet has opened up the appetite for more integrated and collaborative performance art. Dance is no longer an isolated art form.

Are you concerned that all the extra visuals will take attention away from the dance itself?
Quite the opposite. Dance movements are better perceived as part of a seamless artwork. They make sense through the music and the visual environment. I am not interested in visual effects. Only in true collaborations with other artists, who are willing to join the adventure and ready to spend a lot of time in rehearsals with me. 

You’ve collaborated with Pulitzer Prize-winning composer David Lang and conceptual artist Barbara Kruger. How did this happen?
It was my strong desire to work with David and I always admired Barbara’s work. Although she had never worked in theater before, I was able to lure her into our dance studio. The minute she watched the dancers and recognized the vinyl dance floor, she was hooked. Van Cleef & Arpels supported this unique collaboration, which has become one of our most successful calling cards.

You’ve been called “the best curator” today and have also been praised for your choreography, dancing and direction. How do you balance all of this?
First and foremost I feel like a dancer. I have danced as long as I can remember. The feeling is both liberating and fulfilling. My choreography comes from that same joyful place. Being a curator is an extraordinary privilege as it means sharing the vision of other great artists. Being the director of the Paris Opera Ballet will be a culmination of all this.

What impact will this new role have on the L.A. Dance Project?
L.A. Dance Project will always remain dear to my heart and I will continue to invest all my energy to take the project to the next level. The fact that I will be based in Paris does not change anything as I already travel a lot and rely on my collaborators and my staff in downtown LA. In the world of instant communication it is totally possible to run two companies, especially as they are different in concept and size. My artistic energy feeds off of both companies, just like conductors like Valery Gergjev and Gustavo Dudamel run several orchestras.

The L.A. Dance Project moved into the Ace Hotel in Los Angeles this January. What does this mean to you?
This partnership has created an unprecedented opportunity to introduce dance to downtown LA in one of the most glorious Hollywood theaters of the past. LA Dance Project is committed to the revival of downtown Los Angeles and this has been a dream come true.

Will this show be your Mainland debut?
L.A. Dance Project is very proud to make its debut in China but my work Sarabande was performed recently with great success by the Central Ballet of China in Beijing.

Have you worked with any Chinese ballet dancers? 
I am always curious to meet new dancers and choreographers all over the world. Just recently I came across the work of Tao Ye, a dancer-choreographer I find extremely interesting. Hopefully, he will come to work with L.A. Dance Project one day. 

Does it bother you that Black Swan’s success has drawn attention to you as Natalie Portman’s husband rather than a terrific dancer?
Black Swan changed my life in an unexpected and wonderful way. My wife and I respect each other’s career and together we have a wonderful young son, who is the light of my life. I find it very grounding to spend time with my family. Sometimes media attention is intrusive but it will never get in the way.

// June 14-15, 7.30pm, RMB80-500. NCPA Theater. Tickets available at Theatre Beijing.

Images by Alexander Wagner and L.A. Dance Project