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Suite à l'épidémie Covid-19, nous sommes dans l’obligation de fermer le Studio jusqu’à nouvel ordre.
Bon courage et prenez soin de vous.

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22/03/2018 - 16:31

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Upcoming courses

contemporain du 09/03/2020 au 13/03/2020 avec DESPLANTEZ Julien
moderne du 09/03/2020 au 13/03/2020 avec BARLETTA Alberto
moderne du 16/03/2020 au 20/03/2020 avec PORTAL Carl
contemporain du 23/03/2020 au 27/03/2020 avec LESCURE Frédéric
contemporain du 06/04/2020 au 10/04/2020 avec GALOPIN Alexandre
technique horton du 14/04/2020 au 17/04/2020 avec VILLAIN Vanessa
contemporain du 20/04/2020 au 23/04/2020 avec DESPLANTEZ Julien
contemporain du 27/04/2020 au 30/04/2020 avec MOLINO Manuel

Cathy Laymet

After a solid training in classical ballet in Spain, at the National Ballet School, then in France with great personalities such as R. Franchetti or S. Peretti, Cathy Laymet has a brilliant career as performer dancer. She is a soloist in the lyrical works of the Paris Opera led by G. Polyakov, she is also a dancer in the Ballet du i Louvre, where she shared the most prestigious stages in the world with great dancers such as : Noureyev, S. Guillem, MC. Pietragalla, E. Legris, L. Hilaire, N. Pontois...
She danced in Roland Petit’s National Ballet in Marseille, in Toulouse Capitol Ballet, in the Nice Opéra, in Spain National Ballet and in the Saragosse Ballet as well. In 1997, she has the privilege to be a choreographical assistant of Laurence Fanon in the Paris Opéra. At the moment, C. Laymet is a ballet teacher and she is in charge training of many professional dancers. She has also settled a new method for the position of the body, open to everyone. Full of energy, she is the director and choregrapher of the company she created in 2006 « Colors of Dance ». This was a new experience where she could show all her talents and creativity. She loves inventing stories and she is entirely devoted to perfection. She attaches great value to music and scenery and so everything matters to her.
C.Laymet is careful to innovate in the field of choregraphies being altogether respectful of beauty, universality and the demanding training of classical ballet.
In her opinion, a dancer can build up his body or destroys himself according to the way he trains, and this is one of the aspect of the dancer’s job to be « the tool and the craftsman » at the same time.
« thanks to my method, I get close to a stringed instrument maker who folishes up his instrument, so that he can make him vibrate in the best tuned way »
During my classes I teach and explain the right position of the body and how this position is important whe practising ancing or any sports in general. « A dancer ha to respect his own instrument and this is the absolute condition to dance properly and for a longtime »
« This is can ethical obligation »