The Parvis is looking ahead to the next season

As every year, the public turned out in droves on Saturday for the presentation of the upcoming season. As usual, the hall was packed for the grand event that marks the end of one season and the beginning of the year ahead. As usual, a more compact presentation had been announced. But what wasn't typical was that it actually was. In fact, it was compact, surprising, and exciting, and we were left perplexed by the modus operandi. Compact because the presentation lasted exactly 66 minutes. Surprising because it wasn't a live performance but the projection of a completely pre-recorded sequence onto a large screen.

Exciting, with a season that kicks off with a major production on October 3rd, featuring the Malandin Ballet Biarritz taking to the stage at the Parvis with "The Seasons." A new creation with 22 dancers, ranging from Vivaldi's celebrated Four Seasons to the lesser-known works composed by Giovanni Antonio Guido. And so begins a year of performances. Events like Molière's Don Juan, directed by Macha Makeïeff. Or the superb 20,000 Leagues Under the Sea, brought to the stage by Christian Hecq, a member of the Comédie-Française, and visual artist Valérie Lesort. Trilogies like Paul Auster's The New Yorker, directed by actor and director Igor Mendjisky. Or the three appearances of Tarbes native Jonathan Capdevielle during the Parvis's year. So many offerings that invite you to come to the Parvis. One remains nonetheless perplexed and surprised by the format of this presentation. By this grand promotion of live performance that deliberately chooses not to do so on stage. The arguments are commendable: giving everyone a voice, controlling the timing, facilitating the organization of the presentation. If we applied the same solution with the same arguments to the season's performances, there would be no more live shows at the Parvis. Imagine the opening of the 2024/2025 season with Les Saisons du Malandin Ballet Biarritz on the big screen, like opera in cinemas, instead of actually having them on stage. And later in the season, Dom Juan directed by Macha Makeïeff or 20,000 Leagues Under the Sea by Christian Hecq and Valérie Lesort, all on video. Even though we've often debated this grand spectacle, we're now wondering if it isn't ultimately essential.