Robert Binet

Choreographic Associate

Robert Binet. Photo by Aleksandar Antonijevic.

Robert Binet. Photo by Aleksandar Antonijevic.

Biography

Robert Binet was born in Toronto and is a graduate of Canada’s National Ballet School. He was appointed Choreographic Associate of The National Ballet of Canada in 2013 and has created works for the company such as Unearth, set to an original score by Owen Pallett, These Worlds In Us, The Wild Space Between Two Hearts, Orpheus Becomes Eurydice, a co-production with The Banff Centre, The Dreamers Ever Leave You, a co- production with the Art Gallery of Ontario, as well as numerous works for the Choreographic Workshops, YOU dance programme and galas.

In 2015, Mr. Binet spoke and presented excerpts of Orpheus Becomes Eurydice at TEDxToronto 2015 and created The Blue of Distance for New York City Ballet. Mr. Binet was the first-ever Choreographic Apprentice for The Royal Ballet from 2012 to 2013 and received mentorship from Resident Choreographer Wayne McGregor. In 2016, Mr. Binet returned to create Void and Fire for The Royal Ballet for Mr. McGregor’s 10th anniversary celebrations. In 2017, Mr. Binet created The Dreamers Ever Leave You and Self and Soul, which was created for the 12th International Competition for The Erik Bruhn Prize.

Mr. Binet has created works for the Dutch National Ballet’s junior company, Estonian National Ballet, German National Youth Ballet, The Genée International Ballet Competition and Ballet Black. He also choreographed the music video for Owen Pallett’s Song for Five & Six and Belle and Sebastian’s The Party Line.

Mr. Binet was mentored by Karen Kain for the 2017 Governor General’s Performing Arts Award Mentorship Program.
 

Quotes

“Mr. Binet’s choreographic voice in “The Blue of Distance” is the… most remarkably poetic among the premieres… The connections it makes to its Ravel scores, “Oiseaux tristes” and “Une barque sur l’océan” (both from “Miroirs”), are fascinating, not least in the interstices between dancers; space here mirrors sound.” The New York Times, 2015