{"id":917,"date":"2025-08-25T17:00:40","date_gmt":"2025-08-25T16:00:40","guid":{"rendered":"https:\/\/andreemarliere.com\/?page_id=917"},"modified":"2025-08-26T11:36:59","modified_gmt":"2025-08-26T10:36:59","slug":"instructor","status":"publish","type":"page","link":"https:\/\/andreemarliere.com\/index.php\/instructor\/","title":{"rendered":"Instructor"},"content":{"rendered":"\n
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Instructor<\/mark><\/h1>\n\n\n\n

After closing her performing career, Andr\u00e9e Marli\u00e8re became a sought-after coach and ballet mistress who specialised in rebuilding and rehearsing existing works. Her method was meticulous. She learned every part in a ballet, codified style and musical phrasing, and transmitted the choreographer\u2019s intent to each cast so revivals kept their character and precision.<\/p>\n\n\n\n

In 1964 she joined the Ballet School of the City of Antwerp as a classical-repertoire teacher. From 1970 she entered the artistic staff of the Royal Ballet of Flanders, where she served as premi\u00e8re ma\u00eetresse de ballet and took part in company management during a key period of growth.<\/p>\n\n\n\n

From 1984 to 1989 she was Ballettmeisterin at the Badisches Staatstheater in Karlsruhe. From 1989 onward she returned to Antwerp as a repertoire teacher, continuing to stage and coach works for students and young professionals.<\/p>\n\n\n\n

Selected reconstructions and stagings<\/h2>\n\n\n\n

Royal Ballet of Flanders (Antwerp)<\/strong><\/p>\n\n\n\n

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  • Cage of God<\/strong> by John Carter<\/li>\n\n\n\n
  • Pas de Six<\/strong> by August Bournonville, from Napoli<\/em><\/li>\n\n\n\n
  • Opus E\u00e9n<\/strong> by John Cranko<\/li>\n\n\n\n
  • Ain Dor<\/strong> by Moshe Efrati<\/li>\n\n\n\n
  • Allegro Brillante<\/strong> by George Balanchine<\/li>\n\n\n\n
  • Kaleidoscope<\/strong> by John Butler<\/li>\n\n\n\n
  • After Eden<\/strong> by John Butler<\/li>\n\n\n\n
  • Brandenburg Drie<\/strong> by Tscharny<\/li>\n\n\n\n
  • Cantus Firmus<\/strong> by Jeanne Brabants<\/li>\n\n\n\n
  • Dialogue<\/strong> by Jeanne Brabants<\/li>\n<\/ul>\n\n\n\n

    Badisches Staatstheater Karlsruhe and guest stages<\/strong><\/p>\n\n\n\n

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    • Peter and the Wolf<\/strong> by Germinal Casado<\/li>\n\n\n\n
    • Carmina Burana<\/strong> by Germinal Casado<\/li>\n\n\n\n
    • Sylvia<\/strong> by Germinal Casado, \u0141\u00f3d\u017a<\/li>\n\n\n\n
    • The Three Musketeers<\/strong> by Germinal Casado, Toulouse<\/li>\n\n\n\n
    • Songe d\u2019une nuit d\u2019\u00e9t\u00e9<\/strong> by Germinal Casado, Athens<\/li>\n\n\n\n
    • Whimsicalities<\/strong> by Nils Christe, Conservatoire de la Danse, Paris<\/li>\n\n\n\n
    • Cantus<\/strong> by Jeanne Brabants, Antwerp Ballet School<\/li>\n\n\n\n
    • Salv\u00e9 Antwerpia<\/strong> by Jeanne Brabants, Antwerp Ballet School<\/li>\n\n\n\n
    • Bal des Cadets<\/strong> after Michel Fokine, Antwerp Ballet School<\/li>\n\n\n\n
    • Paquita<\/strong> after Marius Petipa, Antwerp Ballet School<\/li>\n<\/ul>\n\n\n\n

      Additional choreography<\/h2>\n\n\n\n

      Alongside revivals and coaching, Marli\u00e8re also created original pieces and theatre dances, including: Twee harten in driekwartsmaat<\/strong> to music by Jef Maes for the Royal Flemish Opera in 1967, Eine Nacht in Venedig<\/strong> to Johann Strauss for the Royal Flemish Opera in 1968, \u00c9tudes<\/strong> to Robert Stolz for the Royal Flemish Opera in 1970, Auftrag<\/strong> to Dmitri Shostakovich for the Badische Staatsoper Karlsruhe in 1985, and later works for the Antwerp Ballet School such as Fanfare<\/strong> in 1992, Dances Roumaines<\/strong> in 1994, and Oiseau de Feu<\/strong> in 2000.<\/p>\n\n\n\n

      Her teaching and staging helped anchor classical and neoclassical standards in Flanders while keeping a living link to twentieth-century creators such as Balanchine, Butler, Brabants, Cranko, and Casado. The result is a body of instruction that shaped generations of dancers in Belgium and abroad.<\/p>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n

      <\/p>\n","protected":false},"excerpt":{"rendered":"

      Instructor After closing her performing career, Andr\u00e9e Marli\u00e8re became a sought-after coach and ballet mistress who specialised in rebuilding and rehearsing existing works. Her method was meticulous. She learned every part in a ballet, codified style and musical phrasing, and transmitted the choreographer\u2019s intent to each cast so revivals kept their character and precision. In […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-917","page","type-page","status-publish","hentry"],"blocksy_meta":[],"_links":{"self":[{"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/pages\/917","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/comments?post=917"}],"version-history":[{"count":3,"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/pages\/917\/revisions"}],"predecessor-version":[{"id":987,"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/pages\/917\/revisions\/987"}],"wp:attachment":[{"href":"https:\/\/andreemarliere.com\/index.php\/wp-json\/wp\/v2\/media?parent=917"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}