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The article reports on the solo dance performance of "Goldberg Variations" by Anne Teresa De Keersmaeker at the Montpellier Danse festival in France.

The article profiles French choreographer Christian Rizzo, highlighting performances of his work at the Danse: A French-American Festival of Performance and Ideas dance festival held in New York City in May of 2014. Topics addressed include Rizzo's use of minimal movement in his choreography, as well as Lyon Opera Ballet company director Yorgos Loukos' commissioning of Rizzo's work.

The article discusses choreographer Jean-Christophe Maillot's work on a production of his ballet "Lac," based on composer Peter Ilich Tchaikovsky’s ballet "Swan Lake," performed by his Les Ballets de Monte Carlo at the City Center in New York City in March of 2014. Topics addressed include his career history as a choreographer in France, and the relationship of his work to classical and contemporary dance.

The article discusses the Montpellier Danse festival in Montpellier, France, held in July 2015, featuring performances such as "Tenire le Temps" choreographed by Rachid Ouramdane, the Batsheva Dance Company's performance of Ohad Naharin's "Last Work" and "Quartet" choreographed by Raimund Hoghe.

PARIS IN a large, circular studio in the cupola of the Palais Garnier, the Paris Opera Ballet etoiles Aurelie Dupont and Mathieu Ganio were rehearsing the moment, close to the end of ''Giselle,'' when the heroine, transformed into a ghostly Wili, must leave her mortal lover, Albrecht, forever. [ABSTRACT FROM AUTHOR]

PARIS -- Not long into ''1980 -- A Piece by Pina Bausch'' a woman begins to skip around the stage, waving a white handkerchief. ''I am tir-ed, I am tir-ed,'' she chants in a sing-song, childlike rhythm. Round and round she goes until her chant is interrupted by gasps for breath, her steps falter, and her arm shakes with the effort of holding the fabric aloft. It's an emblematic passage in this dance, created in the year of its title and seen at the Theatre de la Ville here on Friday night. It also symbolizes a vital element of all Bausch's work: the moment when representation becomes reality, when the ideas of the signifier and the signified collapse. That realism is an essential part of Bausch's power as a creator and it permeates her oeuvre down to the most seemingly minor occurrences. When, later in ''1980,'' water is squirted into the faces of a line of women onstage who appear to be taking part in some sort of competition, their reactions are instinctive, and we understand something of each personality through the subsequent scream, squeal or glare. [ABSTRACT FROM PUBLISHER]

Cannes, France WHEN the sun sparkles on the sea and the yachts sparkle in their moorings, Cannes is an exceptionally pretty place, a vision conjuring movie stars waving from the steps of the Palais des Festivals and all-night parties on the beach. What it doesn't exactly conjure is an earnest discussion on ''the art of choreography in our world of mutating pleasures.'' [ABSTRACT FROM PUBLISHER]

BECKET, Mass. -- In the 1980s and early 1990s, Joelle Bouvier, with her partner at the time, Regis Obadia, was part of a vanguard of young choreographers who gave contemporary dance new prominence and glamour in France. Known for their onstage charisma, their eye for visual effect and an intense, often violent physicality, they were part of a certain movement style and aesthetic unmistakable to anyone who spent time watching French contemporary dance in the 1990s. This involves a lot of black, a measure of eroticism and a dose of concept. And it's all there in the Swiss-born Ms. Bouvier's ''Romeo and Juliet,'' danced by the Ballet du Grand Theatre de Geneve at the Jacob's Pillow Dance Festival on Wednesday night. [ABSTRACT FROM AUTHOR]

The postmodern choreographer Yvonne Rainer said no to rather a lot of things in her famous 1965 manifesto: ''No to spectacle no to virtuosity no to transformations and magic and make believe no to glamour and transcendency of the star image.'' And more. That's the blueprint that Trajal Harrell has addressed and turned inside out in ''Medium (M),'' also known as ''(M)imosa,'' the latest piece in his multipart work ''Twenty Looks, or Paris Is Burning at the Judson Church.'' Mr. Harrell has been working on ''Twenty Looks'' for several years, creating differently sized versions of a response to a not very simple question, noted in the news release: ''What would have happened in 1963 if someone from the ball scene in Harlem had come downtown to perform alongside the early postmoderns at Judson Church?'' [ABSTRACT FROM AUTHOR]

Jerome Bel is a French choreographer who doesn't create steps. Instead he lets others do that for him, whether it's the dancers whose stories he shapes in documentary-like accounts of their lives or the singers whose words he converts into a literal physicality. His work skirts the fine and dangerous line between the banal and the theatrical; all Bel creations have both a real honesty in their straightforward presentation and engagement with the audience, and a rigorously manipulated structure. Mr. Bel is master of the long silence, the artful pause, the poker-faced utterance, of evoking unexpected ideas from apparently informational statements. [ABSTRACT FROM PUBLISHER]

The theme of the 2008 Lyon Dance Biennial, which ended on Sunday after a 25-day run, was ''Retour en Avant.'' That's one of those French phrases that are full of evocative meaning -- in French. Translated into English (as ''Past Forward,'' in press materials), it simply sounds vague, which may not be altogether untrue of the goals of this biennial, the 13th edition since it was founded in 1984. But clarity of intention aside, the biennial is one of the most ambitious and important dance festivals in the world, and its largeness of scale and intention is splendid to see at a time of ever-shrinking financing for the arts. (Past editions have tackled German Expressionism, American modern dance and the African diaspora, among other subjects.) [ABSTRACT FROM PUBLISHER]

'THE FRENCH COLLECTION' The French contemporary dance scene is surprisingly different from the American one -- all penury and bare-bones experiment over here; all state financing, props and wild theatricality over there. Or is that just a stereotype? It's hard to know, since only the best-known companies from each country bridge the divide, so three cheers for this cutely titled minifestival, which opens Tuesday. Three companies will each spend a week at the Joyce Theater, beginning with Compagnie Heddy Maalem (above), well known in France and never seen here. Mr. Maalem is French-Algerian, and he has long been interested in Africa as a source of personal identity and creative inspiration. He brings his version of ''The Rite of Spring'' (apparently every choreographer has to have one), inspired by time spent in Lagos, Nigeria, and his dancers come from all over Africa -- all of which speaks to the diverse influences that have percolated into French dance over the last decade. [ABSTRACT FROM PUBLISHER]

The article focuses on issues related to the expansion of the dance festival, Avignon Festival, held in France.

The article presents information on a dance festival in Montpellier, France, which ended on July 7, 2006.