From Bayonne, France, Lore Pryszo began dancing in the Basque Country before continuing her training at the École Nationale Supérieure de Danse Cannes Rosella Hightower, the Studio Maestro in New York, the École Nationale Supérieure de Danse de Marseille, and the École Atelier Rudra Béjart in Lausanne. She joined the Tanzcompany Innsbruck in 2012, where she danced numerous pieces by resident choreographer Enrique Gasa Valga and guest choreographers such as Marco Goecke, Louis Stiens, and Lukas Timulak, among others. In 2016, she joined the Lyon Opera Ballet, where she had the opportunity to participate in creations and dance in pieces by major choreographers such as Jiri Kylián, William Forsythe, Peeping Tom, Johan Inger, Merce Cunningham, Marcos Morau, Nacho Duato, and Lucinda Childs. While dancing, she completed a bachelor’s degree in Art History, and in 2023, she began a career transition by enrolling in the master's program in international governance and diplomacy at Sciences Po Paris.
You're now a year into “retirement” after a long and very successful dance career. How is life different now?
Lore Pryszo: It's very different, my daily life has completely changed. Obviously, I'm no longer in the studio, and I'm transitioning to a career that's not connected to the dance world. It's been challenging, but very interesting. Now, most of my day involves studying - I can spend around 10 to 12 hours a day sitting on a chair, depending on the intensity of that particular period.
At the same time, there are similarities in terms of the level of commitment required. Quitting dance, I realised how demanding it really was. As a dancer, you're aware of the physical demands, but not necessarily the mental ones. I think that ability to fully focus on something has really helped me in my new life and in my studies.
Because my daily life has completely changed, I've had to implement physical routines to maintain balance. It’s been quite an adjustment for my body too - I've experienced back pains from not moving as much as I used to. But every day is different and, to be honest, it's quite enjoyable.
I like what you said about not realising how demanding it is until you stop, because we grow up with it.
Lore: My respect for dancers has always been high, but it's even greater now that I've stepped away. We also gain so many skills that are transferable, but we don’t necessarily realise it when we’re there. The moment you step back, you recognise the discipline, rigour, teamwork, and creativity you've developed - so many things that are highly transferable.
It's important to realise that while life with dance is great, life without dance can be just as fulfilling.
You were always a big advocate for studying part-time whilst dancing. How did you manage the logistics of that when you were doing your bachelor’s degree? Is that kind of thing for everyone?
Lore: It’s not necessarily for everyone, meaning: if you don't have an interest in studying, don't do it because it will take up a significant amount of time. You should really want to do it. I do, however, advocate for trying out different things. For instance, if you're interested in teaching, try giving some classes and see if it's something you enjoy. When I started studying, I initially chose art history, but realised it wasn't for me.
The fact that I started early on really helped me figure out my actual interest - international studies. So I decided to shift my focus towards that. I'm really grateful that I found that focus and completed my studies because for my desired career path and transition, it was necessary to study part-time. Logistically, it’s complicated, but it's completely doable. It's really a matter of time management, so you get to improve that skill.
For me, studying was also a way to take a break. Sometimes, things can get intense in the studio, and having something completely different to focus on when I got home was refreshing. Sometimes, studying gave me confidence when I lacked it at work. It helped me realise that it's okay if things didn't go perfectly in the studio because there are other things in life - it provided a good balance. You definitely need to manage your time well and if you're not willing to do it, don't just follow others, as everyone has their own path. However, I believe it's great to explore different things to find out what you like. Nowadays, with opportunities for online studies, it is getting logistically easier to do.
Did you know what you would like to do for your master's degree when you started your bachelor’s?
Lore: No, I didn't. Now, I'm studying international governance and diplomacy, which is not what I initially thought I would do. My path has been shaped by what I discovered and my growing interests. At one point, I even wanted to pursue international security because I enjoyed a class on the subject. I've always been interested in politics and international studies and frequently keep up with the news. However, when I started, I wasn't sure about my exact path. It's like dancing: as a kid, you might dream of doing ballet, but as you discover more, like contemporary work in my case, you realise you might actually prefer something else.
You would ideally like to work in cultural diplomacy. What would that look like day-to-day?
Lore: I'm actually not sure yet. I have an upcoming internship at Villa Albertine, a part of the French cultural diplomacy network, which is set to start at the end of August and last for five months. Villa Albertine is one of multiple artist residences that France operates internationally, alongside Villa Médicis in Italy and Villa Kujoyama in Japan. While I've studied cultural diplomacy in theory, I expect the practical experience to be quite different.
I expect to be working closely with artists, helping to handle logistics so they can focus on their creativity. I also expect to organise events promoting French culture in the U.S. Additionally, I think there will be a lot of news and online communication involved, which I'll be responsible for.
My long-term goal is to work with institutions that advocate for French cultural industries, but with a focus on building meaningful relationships between different nations rather than just projecting an image. I'm particularly interested in this aspect of the job. I’m lucky because France invests heavily in cultural diplomacy, so there are opportunities available in this field.
What can the political support of culture do for us in the dance community?
Lore: It can do so much. In terms of career transition, I know many countries are starting to create programs to support dancers during this transition. France is pretty supportive in this respect, especially at the Opéra de Lyon, which I’m grateful for. However, I believe that it's important to have a national or European mechanism for funding dancers when they retire. At that stage, they are usually older and may have a family to support - they won’t be able to just not have an income. Sometimes, people take certain paths because financially they have no other choice, even though they would like to explore other options. There are also private initiatives, like the Fondation de France scholarship I recently received, which are great. But the number of dancers who need this kind of support far outnumbers the beneficiaries.
I also think that in the long term, supporting dancers is a good investment for countries. Like I said, we've been used to such rigour since we were kids and we know how to work. If we are given the opportunity to learn new skills and explore other careers for several years, we could become a great addition to society, and the country concerned would see a labour force return on that initial investment.
In France, the Paris Opera has a pension system that starts at 42 years, which is great. However, many dancers have nothing. As a dancer of the Opéra de Lyon, I'm employed by the Ville de Lyon, which has granted me a professional training leave (Congé de formation professionnelle) that basically maintains my salary for the 18 months that I'm doing my masters. They are also paying for part of my study fees, and I also received a scholarship that covers the rest of these fees.
So I got super lucky, but I’m also attending a university that is quite renowned in France, with an elite reputation, so it always looks good on your dossier. But not everyone is as fortunate as I am. Some people attend schools that don't have an elite reputation, even though they offer excellent programs. If career transition support becomes a national concern, which I hope happens in France one day, I believe we can make real progress. Once governing bodies realise that this is a good long-term investment, I think they will start implementing it. After all, we're not talking about huge sums, and the investment will eventually pay off by the contributions to society made by these dancers in their second careers.
What are the advantages of your more unconventional background compared to others in your master's program?
Lore: It's the transferable skills we bring. We know how to work, we're focused, and we’re creative, especially when it comes to teamwork. In my case, as I aim to work in cultural diplomacy, I have this experience of culture as an artist, which gives me a unique perspective.
As dancers, we have often been travelling the world and are therefore exposed to many different cultures. We're independent, having typically left home at a young age. Also, the decision to return to study reflects a different motivation, maturity, and understanding of what it entails.
However, now that I am around people around 10 years younger than me, I also see the benefits involved in that - they challenged my ideas and helped me realise I had been in a bubble for a few years.
What was the hardest thing to get used to after you stopped dancing?
Lore: Not being in a studio with my colleagues every day. I’ve found studying to be a much lonelier experience. In the dance world, your colleagues are not just coworkers; they're true friends, and you become a family. We share so many experiences, which are necessary to create a certain chemistry on stage.
I missed the routine of going to see my dance family every morning. I also missed ballet class, and it was strange not having the routine I'd followed since childhood. I initially thought I would miss the stage more because that was what I loved most about being a dancer. However, now I thoroughly enjoy sitting in the audience, watching people dance or perform. So, the hardest part hasn't been missing the stage, it's been adjusting to the loss of my everyday routine of working with my body and being with people I love.
Are there any underrated skill sets that dancers might not realise they have?
Lore: There are many. I think because dancing is a highly competitive field, and we've been told from a young age that it's challenging and only a select few can succeed, we often underestimate our abilities. Also, the fact that we're not working our brains in traditionally expected ways leads us to believe that we lack certain skills. How many times have we heard, "dancers are dumb," or felt dumb ourselves? No, you’re not dumb at all. The mental effort needed to learn multiple choreographies is immense - you’re functioning at a high level. Also, dancers' capacity to commit themselves totally to their work is quite rare.
We're also fortunate that we don’t work with screens all day long, which has allowed us to develop the ability to focus without digital distractions.
To me, our main skills include rigour, discipline, love for work, dedication, creativity, and teamwork, which are hugely valuable in other fields. I encourage employers to recognize that although dancers may not have a conventional background, they possess unique and valuable skills.
Unfortunately, we often don't realise our own value because we're constantly told we're not good enough. This mindset needs to be challenged. I think it’s great that dance is so demanding, but the industry also needs to learn to not treat dancers like children. I've had teachers with really impressive resumes - they’ve been ambassadors and held really high positions - who treated us like adults. In the dance world, there's a hierarchical system where dancers are often made to feel they know less than others, which I disagree with. I’m not saying you don’t need any hierarchy at all, with choreographers, assistants, ballet masters, and directors making the final decisions, but it's also important to really listen to dancers.
This norm is changing, but some things are so rooted in the way we position ourselves as dancers. We sometimes hold back from expressing our thoughts to certain people, like choreographers, and directors, out of fear. However, if communicated correctly, these thoughts could actually benefit everyone.
Because we've been told from a young age that a dance career is challenging and only a select few can succeed, we often underestimate our abilities.
Did you face any fears or uncertainties about your future career?
Lore: Yes, sometimes. As a child, I always knew I wanted to be a dancer. It was a strong, specific desire. It was daunting when people asked me what I wanted to do in the future. It’s better now that I’m well into my master’s, but at the beginning, it was quite scary as I felt there were so many interesting options and I had never felt that kind of uncertainty before. Questions like "Did I make the right choice? Did I quit too early? Could I still dance?" often arise. But I think these uncertainties are normal.
At the end of the day, I ask myself, "Am I enjoying this every day? Am I doing the best I can in my studies?" I trust that life will guide me. I'm sure my internship will help me discover even more.
It's normal to feel uncertain when making a significant change. Dancing has been a part of our lives since childhood. Accepting that things will be a bit blurry is part of the process, but it's exciting to have so many options and the freedom to choose. I'm not rushing to make a decision and just taking things as they come.
Even if you're no longer a dancer, you'll always be a dancer in how you view the world, how you carry yourself. Even in the subway, you stand differently. You're more extravagant than most people, you’re a bit of a weirdo. I didn’t realise it at the time, but that's a good thing.
But of course, in terms of identity, you do lose a part of yourself. People used to acknowledge you as a dancer, and you no longer have that. However, when you've loved something that much and given so much to it, it changes you for life. It will always be there, resonating with you. When I watch a dance show, it touches me in a special way.
Now, I feel like I have the time and space to discover new things. As a dancer, your day is so full that on your day off, you might not want or have the energy to go see a show or an exhibition. Now, I have a new world of art opening up to me.
Do you have any other advice for dancers who are considering a career transition or are about to embark on this journey?
Lore: My advice is to experiment. While still dancing, take advantage of the increasing opportunities to try new things, like taking a course in a subject you're interested in or teaching. By experimenting, you'll find out what you like and don't like.
When you transition away from being a dancer, you'll have already experimented a bit. It's important to realise that while life with dance is great, life without dance can be just as fulfilling. There are so many opportunities out there.
Dancers often put so much pressure on the fact that we have to transition, but it's okay to make mistakes along the way. However, I do believe we need the support from states, as it can be so difficult without financial support or if you lack the time. After dedicating so much to your dance career, you deserve to take some risks.
Trust in your skills. I hear dancers say they could never study, but there's more to life than academics - there are many types of jobs. Find something you enjoy and pursue it. Trust me, you have a lot of skills. You really do.
Top image by Mark Holdefehr
