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The article explores Benjamin Millepied's ambitious project, La Ville Dansee, featuring 12 choreographers interpreting the hidden histories of 10 Parisian sites through dance, aiming to unite diverse communities and amplify marginalized stories.

The article reviews theatrical productions "Romeo and Juliet Suite" by director Benjamin Millepied at La Seine Musicale, and "Cri de Coeur" by director Alan Lucien Oyen at Paris Garnier as of September 26, 2022.

The article reviews a dance by the Paris Opera Ballet at Palais Garnier in Paris, France performed on September 24, 2015.

The article reports on the removal of the love locks at the Pont des Arts in Paris, France wherein the weight of the locks was a safety hazard and posed a threat to the walkway.

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]

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]