Prix de Lausanne History
Everything began to take shape in the spring of 1972, not on the shores of Lake Léman, but beside a swimming pool in Cannes. Philippe Braunschweig, his wife Elvire, and Rosella Hightower were excitedly discussing their new project, the launch of the first competition for young dancers, scheduled for 1973.
How should it be run? Who should be on the jury? What criteria would a young hopeful need to fulfil in order to participate?
Enthusiasm was running high and a wealth of creative ideas were emerging. Maurice Béjart and Rosella Hightower had already given their backing: they were prepared to offer prize winners of the future competition a grant for training in their respective school, meaning a year's tuition at the Mudra Brussels, or at the Centre International de Danse In Cannes.
However, in order to enhance the credibility of the event, the organisers would need a third serious reference.
Birth of the Prix
Accordingly, in the summer of that same year, Philippe Braunschweig went to London to request the support of the Royal Ballet School.
His encounter with Michael Wood, director of the prestigious institution, was to prove decisive. "He is the most important man in my life" says Philippe Braunschweig. "Without him, I am not sure the Prix de Lausanne would have been possible". Anxious to meet representatives from the continental world of dance, Michael Wood agreed to be part of the competition in the making, to provide a grant, and to delegate Barbara Fewster, dance director, as a member of the jury.
Philippe Brauschweig's determination to launch the Prix de Lausanne was strongly influenced by his recent acceptance of the invitation from Manuel Roth - then director of the Théâtre municipal de Lausanne - to become chairman of the Fondation en faveur de l'art chorégraphique. His main concern was not only to schedule ballet productions in the Canton de Vaud's main urban centre, but also to create an event in the service of dance.
The concept, structure and support were all in place: the adventure could begin, along with its attendant worries. Even before its "trial by fire" there were attempts to put spokes in the wheels of the new competition. Jealousy and distrust made preparations difficult. A few years later, someone would even go so far to shower an audience attending a final with hostile tracts.
Nonetheless, the first Prix took place as planned, from January 19 to 21, 1973, in the Théâtre municipal de Lausanne. It was a sell-out and Rosella Hightower successfully chaired the jury. Two grants were offered, along with 5,000 francs in cash. The following year, however, things did not run so smoothly: the venue turned out to be small, the jury lacked sufficiently clear selection criteria and spectators became impatient while awaiting the final results. "At that time I had the feeling that we were never going to make it", recalls Philippe Braunschweig.
Laying the foundation
By 1975, the event had risen to the challenge: the Prix was beginning to find its pace, to expand and to assert its identity. That year, on the initiative of Marc-Antoine Muret, the competition took place in the Théâtre de Beaulieu. An effective evaluation system was introduced for the jury, which was enlarged from seven to eleven members; and additional prizes were introduced as a complement to the grants (a prize for the best Swiss competitor and a prize for the best personal choreography).
Over the following years, the Prix de Lausanne began to establish itself within the world of dance, largely thanks to the rigorous artistic line imposed by the jury and cultivated by Elvire Braunschweig, as well as to the effective organisation demonstrated in planning and running it.
First innovations
Several innovations were successively adopted. The competition soon found an audience well beyond local and national borders: from 1974 onwards, the Télévision Suisse Romande decided to broadcast the final each year; and in its turn the Japanese television channel NHK began transmitting the event to a large number of fascinated viewers.
From then on, the Prix could focus on its main concerns: the need to take account of the diversity of candidates (in terms of training and origin); and to continuously adjust to the evolution of dance.
For example, it became apparent that certain dancers demonstrated abilities sufficient to enable them to embark directly upon a professional career. A professional prize was therefore created in 1980.
Moreover, it was also clear that the repertory of dance companies was becoming increasingly open towards contemporary forms of expression. As from 1984, a contemporary dance lesson was therefore introduced into the selected rounds.
Two years later, in order to give equal chances to candidates from small private schools and those trained in large institutions, a distinction between students was clearly defined and the regulations were modified to ensure that one third of candidates for the semi-final and final should come from private schools.
International renown
Renowned choreographers such as John Neumeier and Heinz Spoerli agreed to serve on the jury.
The growing recognition gained by the Prix, as well as its excellent reputation, enabled it to organise four prestigious performances: "Les enfants de la rue du Théâtre" in 1977, under the patronage of Princess Grace de Monaco; as well as gala evenings devoted to Maurice Béjart in 1980, Rosella Hightower in 1982 and John Neumeier in 1984. Princess Caroline de Monaco honoured the 20th edition with her presence and Prince Takamado of Japan attended the 1996 competition as guest of honour.
Over the years, the Prix has grown in scale and significance in all areas. The number of candidates has risen with each edition, from thirty in 1973 to over one hundred twenty-five years later. From only a handful of schools offering grants the first year, there are now twenty-five.
New York, Tokyo, Moscow: from dreams to reality
"We wanted to enhance the international image of the Prix and it was therefore essential to take it abroad". New York in 1985, Tokyo in 1989 and Moscow in 1995: within ten years, the competition experienced three big foreign trips.
Each was based on the same formula, with selected rounds for the semi-final held in Lausanne for European candidates, while the same stages took place in parallel in the host cities.
It all started when Harvey Lichtenstein, director of the Brooklyn Academy of Music, opened the doors of his theatre to the Prix. The New York Times devoted a major feature to the visiting competition from Switzerland, and an enthusiastic audience was there to witness it. There were of course some scary moments, due to the difficulties inherent to logistics in such a huge city, such as the finalist's coach driver who took an overly long nap and arrived at the final in the very nick of time.
In scheduling the Tokyo venue in 1989, Philippe Braunschweig had other goals. He had been making annual visits to Japan since 1956 and had even created a Prix de Lausanne office there with Hiroko Yamada in 1980. Young artists involved in Western-influenced arts such as dance have a very tough time in Japan, and holding the Prix de Lausanne in Tokyo was intended to give the Japanese press an opportunity to highlight this difficult situation. Communication problems with another civilisation required long preparation on the part of organisers, and Hiroko Yamada devoted two years full time to preparing and staging the event.
Organising the Prix in Moscow closely resembled a "mission impossible". The legendary Bolshoi theatre, with its immense stage and great performers, is evocative of the entire history of ballet. Nonetheless, before the collapse of the Berlin Wall, the Prix de Lausanne, as a private institution, was unable to welcome candidates from the Soviet Union. From 1992 onwards, Philippe and Elvire Braunschweig attempted to recreate links with Russian ballet, but the distrust Russian ballet schools felt for the Western world made this an extremely difficult task. In order to convey the message that the Prix de Lausanne had great potential to offer youthful talents from Eastern Europe, it was essential to hold the competition in Moscow and to obtain optimal coverage by the Russian press.
During the twelve months prior to the event, a representative travelled to Moscow each month to supervise preparations. The lack of organisational coherence in Russia rendered this mission extremely complex, but it was thanks to the determination of Philippe and Elvire Braunschweig and to the efficiency of Patricia Leroy, Secretary General of the Prix, that the project finally reached fruition. The role of Elvire, who is of Russian origin and perfectly bilingual, was particularly significant. In the end, the consistent efforts and travel paid off and the impossible proved possible after all.
25th anniversary and symposium
On the occasion of the 25th anniversary of the Prix de Lausanne, which welcomed Rosella Hightower as guest of honour, an international symposium on classical dance was organised :
At the close of the 25th edition, Philippe Braunschweig announced his decision to relinquish the Presidency of the "Fondation pour l'Art Chorégraphique" and to leave room for a new management team, made up of five members: Franz Blankart, President; Charles Gebhard and Antoine Hoefliger, Vice-presidents; Patricia Leroy, Secretary General; and Jan Nuyts, Artistic Director.
New orientation
From 1998 onwards, the Prix de Lausanne adopted a new orientation, characterised by the determination to enhance the pedagogical aspect of the competition, as well as by increased openness towards contemporary dance. From then on, candidates were to present three variations instead of two (classical, contemporary, free). The event was therefore extended by one and a half days. Cash prizes were eliminated and apprentice scholarships with international dance companies were added.
As well as facilitating entry into a professional career for potential youthful talents, the Prix de Lausanne plays an important teaching role for the candidates taking part.
Since 1999, candidates have been given the opportunity to practice their classical variation under the supervision of an étoile who tries to develop the expressive side of their role, whereas the technical side had hitherto been paramount.
With the same aims in mind, they may also practice their contemporary variations under the supervision of the choreographers who have created these variations specifically for the Prix de Lausanne.
Candidates not selected for the final may take lessons with the official Prix de Lausanne teachers, who help them examine their aptitude to become professional dancers.
In order to develop its function as a genuine "forum" for the dance world, the Prix de Lausanne is enhanced by meetings organised between dance professionals: teachers, company directors, étoiles, etc.
The Prix de Lausanne continues to move ahead. Those in charge of the Prix de Lausanne have set themselves several missions: they are concerned with developing the philosophy of the competition, while taking account of the changes in dancers' careers; they are seeking to position the Prix de Lausanne as a leading competition in the area of health and training.
Prizes
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three or four "Prix de Lausanne Scholarships" at a prestigious dance
school (tuition plus living expenses),
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three or four "Prix de Lausanne Apprentice Scholarships", reserved for candidates aged 17, to be spent with a major international company (apprentice scholarship and living expenses),
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the "Prix de Lausanne Best Swiss Candidate" awarded to the best Swiss finalist or a prize-winner who is not a Swiss national but who lives in the country or has been training here for at least 3 years,
- a "Contemporary Dance Prize" awarded to the finalist having shown the finest interpretation of his/her chosen contemporary variation on the evening of the final. This prize consists of a contemporary dance course, including all expenses.
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