ⓒPeter Gregoire

 
 

Sculpting Space: In Conversation with Master Ballet Instructor Fabrice Herrault

By Lauren Fichten

 

The ever-changing landscape of Manhattan's 8th avenue is home to an array of spectacles and surprises. On the corner of 57th street sits the sleek exterior of Spyscape, an interactive spy exhibit. Downtown, the grandiose entrance to the Museum of Illusions attracts locals and tourists alike. From 59th to 12th street there are an abundance of restaurants, shops, and apartment buildings — some newly established, others that have been carved into New York’s iconic skyline for decades. Perhaps the most unassuming yet arguably most profound addition to 8th avenue, however, is the private ballet studio of Fabrice Herrault. His former students grace the stages of theaters throughout the world and occupy the ranks of renowned companies such as the American Ballet Theatre, New York City Ballet, Boston Ballet, and The Royal Ballet. Yet, despite having produced (and continuing to produce) a plethora of talented dancers, Herrault continuously shies away from the spotlight. “I'm really interested in the work,” He said. “I care about making good dancers and that’s it.” Aside from his website, Herrault has never advertised his studio. Students find out about him predominantly by word of mouth.

 

Joséphine Seumsouk ⓒFabrice Herrault

 

Hailing from France, Herrault trained at the Paris Opera Ballet School and later, the Conservatoire National de Musique de Paris. He went on to dance with several companies including the Hamburg Ballet, Les Ballets de Monte Carlo, Twyla Tharp and Dancers, and The Royal Winnipeg Ballet. “Hectic” is the word Herrault uses to describe his training, due in part to a foot injury at 14. In hindsight, he believes the chaotic nature of his ballet journey to be the reason he was such a detail-oriented dancer and now, teacher.

Herrault first became curious about teaching while dancing as a guest with a company in Italy, but a tear to his ACL when dancing at the Royal Winnipeg Ballet would challenge his ballet career and prove to be the catalyst for his new profession: teaching. With an impressive career under his belt and a deep understanding of ballet technique, Herrault was well equipped to establish himself as an instructor in New York. His teaching has led him to companies and schools around the world and for years, Herrault held a popular open ballet class at Steps on Broadway that attracted students and professionals alike. Though ballet institutions continually sought his expertise, the establishment of his private studio in 2007 would prove the opportunity of a lifetime. “I’ve been so fortunate to have this,” he professed. “This is the dream of a teacher; to be in Manhattan and have a studio where you can train professional dancers.”

 

Max Barker ⓒfabriceherrault

 

Most dancers who attend Herrault’s studio train with him privately six days a week. Students begin at the barre, moving through a memorized set of combinations, usually nonstop, and then progress into the center where they continue to work on combinations as well as variations from full-length ballets. Whereas at other studios in New York students dance and rehearse for four to five hours a day, the intensity of private training warrants a two hour time limit. Herrault’s classes are technically and artistically demanding and his combinations often arduous, emphasizing repetition, precision, placement, and strength.

Claudia Schuman, a former student of Herrault’s who worked with him for a year at ABT’s JKO school and two years privately said that training at the studio taught her how to push her limits. “It taught me so much about willpower and that if you can put your mind to it and just get through it you have the capability,” she disclosed. Though training with Herrault resulted in a deeper understanding and awareness of movement and technique for Schuman, she recalled the difficulty of remaining consistent, and notes that it was challenging at times to adhere to his specific vision. “Being able to do these extreme things but also being classical and pure and being able to harness both of those qualities is tough,” she explained.

 

Private session with Mikhail Baryshnikov and Max Barker in 2020. ⓒBarker family

 

The demanding nature of the training is a result of Herrault’s own personal experience. “I wouldn't call myself a natural dancer, it became more natural with work.” He continued, “I think it's very rare that someone might feel like it's easy. Some people are lucky I guess, but most people struggle and have to fight to get there, and that's a good thing. It would be boring if it was too easy anyway.”

While Herrault has developed a tried-and-true methodology for training dancers, he emphasized that he is always looking for ways to improve and continues to hone his teaching skills. “You try to find a method that works for the student. When you do the right exercises, it just works,” he said. Regarding Herrault’s teaching methods Schuman said, “I think it was just so detailed in a way that dancing in a class will never be. Having someone watching your every move and they expect nothing but perfection.” She continued, “He would sit there with me and if my arms were not the quality that he wanted them, we would do it again and again and again until I could feel it and really get it in my body.”

Though Herrault’s goal is to produce strong dancers, he believes that the ultimate takeaway for his students transcends ballet technique. “For me it's important to make the person grow as a human being,” he said. According to Herrault, personal growth and establishing confidence are key, but these things cannot be achieved alone. “A teacher is a guide,” he insisted. “That’s what they do — that’s why they're so important. You can't do it on your own.” Despite Herrault’s emphasis on repetition and establishing a strong technical foundation, he strives to produce dancers who are generous, genuine and move beautifully in space. “To me a great dancer is a person who is a very good mover. That’s it.” He added, “People who are really connected with the music, the space, with themself, of course, and really expressing the movement with their body, sculpting space. Sculpting images in space.”

 
 
 
 
 
 
 
 

Joséphine Seumsouk ⓒfabriceherrault

 

Lauren Deramo ⓒfabriceherrault

 
 
 

Oscar winning actress Lupita Nyong'o


 

One of Red’s most distinguishing characteristics is her uncanny movement style—her posture, her gesticulation, even the pace at which she walks. Hollander and Nyong’o thought through every detail of both Adelaide and Red’s physicality, making sure that Adelaide was convincing as an ex-ballerina, and that Red came across as not quite human. Hollander set Nyong’o up with Fabrice Herrault, Hollander’s old instructor, for intensive training, where the actress learned about ballet, including which muscles give ballerinas the most trouble; the posture; the stretches; and the movements dancers tend to do out of habit. “Adelaide, she’s this very fluid, warm, elegant, has a type of gracefulness,” Hollander said. Red, on the other hand, required a different kind of presence.

Ashley Mckoy in the movie US.

Former student of Fabrice Herrault Studio

Ashley McKoy

 
 

Claude Bessy, Ligne d'une vie (2023) new version

Film by Fabrice Herrault.

Premiered in Paris at Palais Garnier

 
 
 

La Passion Noureev (2013)

 

ⓒJack Mitchell

Film by Fabrice Herrault

From the moment of his dramatic leap to freedom at Paris’ Bourget Airport in 1961, Rudolf Nureyev was embraced as a ballet idol. On the 20th anniversary of his death, Fabrice Herrault has assembled an impressionistic tribute film that showcases this Byronic artist in some of his peerless early performances through archival footage, much of it previously unseen, revealing “Rudi” at the peak of his powers.

 


Premiered in Paris at the Balzac Theatre

for the summer dance festival "Les Etés de la Danse" 2013

US premiered in Los Angeles

for Dance Camera West 2014

Official Selection:

New York Dance on Camera 2014

Montréal International Festival of films on Art "FIFA" 2014

San Francisco Film Festival 2014

Saint-Louis Festival 2014

Beirut Art Film Festival  "BAFF" 2015

 
 

Claude Bessy, Lignes d'une vie (2011)

 

ⓒSam Levin

Film by Fabrice Herrault

The documentary profiles the French ballerina and Ballet School director who was described as the "Golden Silhouette" by Serge Lifar. Bessy was an admired Etoile of the Paris Opera Ballet and ran its prestigious school for decades. Bessy also made television appearances and films, most famously in Gene Kelly's "Invitation to the Dance". Narrated by Bessy, the film features rare vintage footage of the dancer in her prime, performing works by Gene Kelly, Serge Lifar and Maurice Bejart.


US Premiere in New York City

Dance on Camera 2011

Official Selection:

Los Angeles Dance Camera West 2011

Jacob's Pillow Dance Festival 2011

Cinedans Amsterdam 2012 - BEST EDITING AWARD

San Francisco Dance Film Festival 2012

Cinedanse Montreal 2012

La Cinémathèque de Paris 2012