PASCAL BENICHOU

DANCE

 

Pascal Benichou dance experience covers many territories from being a ballet dancer with such companies as San Francisco Ballet, Joffrey Ballet, Metropolitan Opera, and New York City Opera to creating and dancing his own modern works. Pascal's other credits include performing the lead dance at the opening ceremonies at the Nagano Olympics in Japan and working closely with modern choreographers such as Lucia Dugloszewski and Martha Clark.  

  • William Forsthythe' s In The Middle Somewhat Elevated
San Francisco Ballet.
  • Critics quotes on Dance performances:{quote}The themes were pursued by Pascal Benichou who was excelent{quote} Kylian;s Return to a Strange land. State theater 1994.Anna Kisselgoff-New York Times“Benichou, who has two of the most expressive arms in the business,literally moved from light to dark”-Lynn Voedisch Chicago Sun Time -Alonso King’s Prayers – Auditorium Theater – 1992“Benichou attracted notice for his curly headed good looks, his elegance of bearing and his secure technique. He prove the real thing, a genuine Cavalier{quote}-Los Angeles Time  -Lewis Segal--Nutcracker Prince-Dorothy Chandler- 1990“Pascal Benichou’s romanticism as these dual characters made a male figure the Ballet’s focal point. He molded even supine moments into Rodin forms and tackled triumphant passage as if he where the most idealistic of cadets.{quote}-George Jackson-The Washington Post.-Massine’s Presages – Kennedy Center-1993
  • “Pascal Benichou was the impressive central male, extending tall and strong both alone and with his partners” William Forsythe – In The Middle somewhat elevated- 1989.Robert Commanday.San Francisco Chronicle .War Memorial Opera House“With his long auburn hair and earthy sensuality, he looks has if he had stepped out of a Pre-Raphaelite painting”Christopher Reardon.The New York Times – Arts & leisure .Lucia dlugoszewski’s Taking time to Be VulnerableCritic Quotes on Choreography“ Innate blend of innocence and sophistication” - Jennifer Dunning -The New York Times . November14, 2000“ Powerhouse tour de force…………startling originality”Phyllis Goldman-Back Stage December 2000“splendid gestural control”“Powerful”  The New York Times June 8, 2004- Jack Anderson
  • Thoughts on Dance .Gravity.Being conscious and aware of the pull of gravity is key in knowing your instrument . Tension in the body hinders the ability to feel . Without sensing inwardly, it is much harder if not impossible to built a dance technique . Aligning your spinal column, gathering and centralizing your weight cannot be done without tuning-in to your physical sensations. The trick here is to free the body of tension and allow the body’s intelligence to guide you.Placement ,Alignment  and Axial extension.The spine has three curves:  The Cervical, the Thoracic and the lumbar spine . Tension that creates elongation and uprightness in the spine is called Axial extension . The right amount of tension and mobility between the three bows work together to achieve balance and stability . The conditioning and coordination so that the bows and arches can work together through the strings that coordinate them allows for  longevity and performance.  A dancer is made aware of the importance of aligning the spine with sentences like ”straighten your back”or “put your torso on top of your turnout”, Axial Extension allow for a deeper , less superficial understanding of how the spinal column can begin to balance itself. Now all one needs to do is to place the spinal column over the feet and learn to move with it, controlling and stabilizing it (balance) by centering the weight inward in all directions.Moving with your placement require the understanding of over-curves. One has to literally lead with the placement of the back as one steps forward and eventually catch the balance with the toes connecting to the floor.Planting your feet on the ground. When you press your toes and toes knuckles down, it activates the Plantar muscle and turn’s on the arch which creates stability all the way to the ankle and throughout the body. Sending the flow of energy down  creates a powerful relationship with the floor. The analogy here is to be rooted like a tree. While doing a tendu that relationship is used by pushing the floor away on the out movement and resisting the floor on the in movement. The downward flow of energy or movement from the gluts down to the toes, add to our ability to hold less stress in the spine and rib case and therefore achieving freedom of technic and authentic artistic expression.Arms and balance. Port de bras in french means carry of the arms and one could understand it has: feeling the weight of your arms. The arms serves has a pendulum to create balance the way a bird uses his wing to balance on air. When a dancer finds a balance in a passe position, he or she is constantly adjusting to maintain the equilibrium even thought movement is not perceivable . The arms are the expression and will guide the dancer’s movement  as they initiate the coordination of the body as a whole. The elbows play an important role as they originate the movement of the arm and support them . Not enough is mentioned of the use of the arms in dance today, the way they support the torso and the entirety of the movement and give life to the dancer s expression .
  • Being an Artist and sensing.The challenge for the artist is to communicate not with a made-up, superficial, unconnected and ego-driven expression, but with a deeply felt experience of being alive . If you, the performer does not feel, the audience will not either.The artist challenge is to be at peace enough inside, when dancing,  so to have a sense that he or she exist.Less tension in the chest shoulders and arms not only bring stability and balance but allows a sense of self that is needed to be and to dance .
  • Opening Olympic Nagano Japan
  • <p> </p>
  • AVAILABLE PAINTINGS
  • DANCE
  • VIDEO
  • FURNITURE DESIGN
  • PRIVATE GALLERIES
  • ARTIST STATEMENT and PRESS
  • CONTACT INFO

Copyright Pascal Benichou 2008-2012. Site design © 2010-2025 Neon Sky Creative Media