IN CONVERSATION WITH MARION BARBEAU

interview by MARIE-PAULINE CESARI

Numéro Netherlands Digital presents Marion Barbeau, Cover Star of the Day, captured by Manuel Obadia-Wills. A leading figure in French dance, Marion trained at the Paris Opera Ballet School before joining the company in 2008, rising to Première danseuse in 2019. She’s danced works by legends like Nureyev, Balanchine, and Pite, and collaborated with Sharon Eyal, Hofesh Shechter, and Alan Lucien Øyen. Her breakout film role in En Corps by Cédric Klapisch revealed a powerful new side to her artistry. Now officially freelance since September 2024, Marion continues to explore bold new paths in dance and cinema.

What first sparked your interest in dance? Was it an immediate calling?   

Kind of by chance, actually. It was my older sister who was dancing, and I was lucky to come across a wonderful teacher in a tiny school in the suburbs of Paris. She’s the one who passed on her love of classical dance to me. It all started thanks to her.

all looks CHANEL

When did you know you were meant to become a dancer professionally?  

It’s always strange to think you make a decision at seven years old and never let go. But I think I had a real spark when I was taking part in small regional competitions. After one of them, the jury members called my mom to tell her I absolutely had to make it my profession. Getting that kind of recognition from professionals gave me confidence — it struck a chord with me.

You’ve performed with some of the most exciting choreographers of our time. What has been the most transformative collaboration for you so far?  

Yes, several. Meeting Shechter, whom I still work with today, was a big turning point. He taught me to dance differently, closer to the floor, to warm up on my own through improvisation. It was the first time I’d discovered anything like that. Then Sharon Eyal, with whom I was able to blend classical dance with something stranger, more personal. Her dance is expansive, precise, deeply felt, with a kind of groove… it was a revelation for me.

And finally, my encounter with the Norwegian choreographer Alan Lucien Øyen at the Opera. Thanks to him, I got to dance and act at the same time — to experiment with theater through breath, breathlessness, that moment of exhaustion when performance becomes organic. It was incredibly nourishing.

What pushed you to take the leap into acting? Was cinema always part of the dream?  

Not at all! I love movies, I’ve always loved going to the cinema, especially thanks to my dad. But for me, I was only ever going to dance, all my life. Cinema wasn’t a goal. It really came through Cédric Klapisch, who came looking for me. And I didn’t hesitate for a second. I was hugely curious, and it made sense with my work as a dancer — which is also a form of acting and interpretation.

Your role in En Corps was both physical and deeply emotional. How did you prepare for that kind of dual challenge

It was amazing. I came in completely fresh, with a huge desire to learn. I was fully curious about others — the actors, their way of working. And I think that being in a place of trust, not needing to prove anything, helped me access emotion and be truly present in my reactions.

How does working on a film set compare to the atmosphere of the ballet stage?  

It’s completely different, but at the same time, there are similarities depending on the directors. The atmosphere on set really depends on the personality of the filmmaker. On stage, you repeat the performance every night, whereas in film, you redo scenes multiple times, but there’s a kind of distance from the audience. I really love rehearsals — that moment in the studio when there’s no pressure yet, so there’s more freedom. And I found that again on certain shoots: even though there’s time pressure, you can still take risks, try things out, propose variations. That’s a real gift.

Tell us about your cover shoot for our magazine, how did it go behind the scenes?

It was very joyful, very creative. I remember getting along super well with the photographer, the video part was really fun too, same with the makeup. It was a beautiful day, even if it was long.

It was a real character to find — not narrative, but clearly not me either. The Chanel clothes, the extensions… all of that helped me create someone else. I loved that little rotating platform — I think it’s called a turntable? — where I had to stay still while it turned. The camera would capture moments without me moving. It was fun to do.

Where does fashion fit into your life today? Is it an extension of your artistic expression?  

I feel very at ease during shoots. Being made up, styled, wearing incredible outfits — it excites me a lot. In my everyday life, I’m more and more drawn to trying new things. Sometimes I feel like I’m going out in costume, but I like it! I like having fun, not taking myself too seriously.

And at the same time, I have my basics — like this big oversized leather jacket that makes me feel completely myself. It’s silly, but a pair of shoes or a pair of jeans can really change your walk, the way you take up space. And that’s super important to me: creating your own attitude isn’t superficial at all.

Now that you’ve stepped into a freelance chapter, what excites you the most about this new freedom?

Oh yes, it’s definitely a completely different life — almost the opposite of what I’ve always known. There’s a real freedom, and for me, it suits me much better. Strangely, it’s been almost three years now, and I feel like I’m only just starting to understand who I am, what I want, my habits, how I want to live. Having time for myself, being alone, has helped me build myself.

I love being able to recharge — even if it’s rare — at home, enjoying time with friends, family… though I wish there were more of that. And then there’s the richness of meeting people, going from one project to another, whether it’s in film, dance, or physical theatre. It’s not any less tiring, but there’s no real routine. You have to learn to create your own rituals, your own moments to pause. It’s a learning process — but it’s a fascinating one.

TEAM CREDITS:

talent MARION BARBEAU
photography MANUEL OBADIA-WILLS
styling JOY SINANIAN
hair SOFIEN SEMMACHE
makeup CAMILLE SIGURET at Wise & Talented using Chanel Beauty
nails MAGDA S
production company HIERSOIR, YOEL SERVADIO, CAROLINE HELAINE, ANNE-CECILE JEMIN, EVA LE GAFFRIC and BAPTISTE ARCHIMBAUD
styling assistants CAMILLE HUGUENIN and LUDIVINE MILARD
DOP & grading NICOLAS JARDIN
1st assistant camera LOLIE FOUQUET
gaffer HUGO DOS SANTOS
spark AUGUSTE COUECOU
chef machiniste ROMAN POPSING
set designers JORIS NAVARRO and JOSEPH HOFFMANN
editor BRAM VAN DIJK at Collectiv Paris
music FRANÇOIS X
intern ARTHUR WILLS
studio RODEO DRIVE STUDIO
editor TIMOTEJ LETONJA
interview MARIE-PAULINE CESARI
cover design ARTHUR ROELOFFZEN