DANCING
As a Paris Opera dancer I had to deal with a plethora of choreographic styles often in the same day even in the same performance. Paris Opera Ballet certainly has the most heterogeneous repertoire imaginable. This range of styles can at times be contradictory but dancers must learn to deal with this situation with only one body. The body tends to become a little like a library. On the shelves, authors of different nationality, sensitivity and conviction are catalogued together. At times I have appreciated a whole book as with Nijinska or Cunningham, or a number of chapters as with Noureev or Larrieu.

As I enjoy trying different dance styles, on my own I attended courses in different schools during my career (Martha Graham School, Jose Limon Dance Company, Laban Centre, Biennale de Lyon...).

Since I have moved to Japan I understand the extent to which Paris Opera has shaped me in the "French style" of Ballet. All these experiences created in me a kind of embodied culture.

CV DANCER

Press extracts
Darde's movement as the matador was especially expressive.
Dance Magazine Japan Summer 2002 Kumiko Murayama

Perpetuum on music by Johann Strauss...among the impressive moments that we will remember is ..the encore of Pierre Darde hanging on the Opera curtain..
Figaro May 2000 Rene Sirvin

Till is certainly the most interesting role in the ballet, and although it was likably and puckishly performed by company director Patrick Dupond, finely danced by Jose Martinez and Nicolas Le Riche, I liked best the stylized interpretation of Pierre Darde, which suggested something of the grotesquerie and strangeness that Nijinsky seems to have intended
Dance Magazine England June 1994 Lynn Rose

... I must praise the astonishing Benvolio that Pierre Darde suggests with intelligence. The character takes here a life, a relief, coming only from of the personality of this subtle dancer, not employed enough recently
Saison de la Danse 1992 Andre-Philippe Hersin

About Pierre Darde we are happy that on this occasion he was able to leave the rank of corps de Ballet. His technique is very pure, his dance easy and very polished. He has a very personal radiance on stage. In short, a name to keep in our memory and a career which will certainly develop.
Le Quotidien de Paris Avril 1984 Gerard Mannoni