LEOANNIS PUPO-GUILLEN

leoannis pupoA Cuba, où il naît en 1983, Leoannis Pupo-Guillen ne se souvient pas « avoir appris à danser », tant cet art accompagnait son enfance. La danse le choisit, et dès 11 ans, il intègre la Vocational School of Arts de Holguín (Cuba), puis la Professional Ballet Academy de Camagüey. Premier danseur du Ballet de Camaguey de 2001 à 2004, il poursuit sa carrière aux Etats-Unis, invité principal du Roxey Ballet dans le New Jersey. Il y travaille notamment avec des interprètes handicapés, ce qui change sa vision de la danse et l’ouvre à la différence. Passé ensuite par le Northeast Youth Ballet, le Costa Rican Youth Ballet, le Northern California Ballet et l’Alaska Dance Theatre, il est de 2007 à 2011 étoile à l’Eugene Ballet Company, puis soliste au Tiroler Landestheater en Autriche. Il entre en 2015 au Ballet de l’Opéra de Lyon. Passionné, bienveillant, il « adore être un autre », travaille avec ses émotions et est à l’aise dans tous les répertoires. Car « il n’y a pas des danseurs classiques, ou contemporains, mais simplement des danseurs ».  

Born in Cuba in 1983, Leoannis Pupo-Guillen says dance was such an integral part of his childhood, he has no recollection of actually learning to do it. It is as if dancing chose him, because he joined the Vocational School of Arts in Holguín (Cuba) aged 11, and went on to the Professional Ballet Academy in Camagüey. After joining the Camagüey Ballet as principal dancer (2001-2004), he decided to pursue a career in the U.S. as guest principal dancer for the Roxey Ballet in New Jersey. While there, he worked particularly with disabled performers, which changed his vision of dance and made him more aware of difference. Stints at the Northeast Youth Ballet, the Costa Rican Youth Ballet, the Northern California Ballet and the Alaska Dance Theater followed.  From 2007 to 2011, he was a star dancer at the Eugene Ballet, then a soloist at the Tyrolean State Theatre in Innsbruck ( Austria). He joined the Lyon Opera Ballet in 2015. Passionate and caring, he “loves being someone else”, works with emotion and is comfortable in all repertoires. Because, as he says: “There are no classical or contemporary dancers, but simply dancers”.