Lucas is exempted from obtaining the diploma of State of Dance Professor under the confirmed experience in the teaching of dance.
He is teaching at the Paris Opera Ballet School and for the Summer School of Paris Opera.
Since 2010, Lucas has taught for the Ballet Preljocaj and the Bolshoï dancers (Austria, Germany, France), the Taipei National University of The Arts – TNUA (Taïwan), the West Australian Academy of Performing of Arts – WAAPA in Perth and the Contemporary Dance Company of Western Australia (Australia), the School Of The Arts -SOTA (Singapore), the World Dance Alliance (Korea),the Jerusalem University, Bikurey Ha’ Itim, Even Yehudance et Merkaz Kehilati (Israël), the Trinity Laban Conservatoire of Music & Dance and The Place (London), the Summer Workshops of Budapest TanzTheater (Hungary), the Studio Terpsichore and Dance Area (Switzerland), the Centre National de Danse Contemporaine (CNDC – Angers), the Centre National de Danse de Lyon (CND), the Hong Kong Academy for Performing Arts – HKAPA (Hong Kong), the Ecole de Danse Contemporaine de Montréal (Canada), the Yantra Academy and the Athénée Royal de Fragnée (Belgium), the Dance Bridges Festival (India), at the Metz Opera (France), for the Tanztheater Bielefeld (Germany), at the Elite Ballet Summer Intensive in Guanajuato (Mexico), at the University of Chily Faculty of the Arts and at the Ballet Nacional de Chile (Chile),at the Paris Opera School.
He also trained the accompanying pianists at the Conservatoire National Supérieur de Musique et de Danse de Paris aand worked for differents high schools and Conservatoires in France (Paris, Montpellier, Poitiers, Nantes, Angers, Toulouse, Ile de La Réunion, Nice).
Lucas is jury for exams in Conservatoires and prepare people for the Examination of Technical Aptitude (french diploma EAT).
The class is based on the Jooss-Leeder technique, developed by Hans Züllig and Jean Cébron, with a contemporary barre at the barre followed by a middle.
The precise consciousness of one’s body in the space and its dynamics are the ground of this approach. The precise consciousness of one’s body in the space and its dynamics are the ground of this approach. The technical work at the barre allows the upper side of the body and the arms to flow by being well aware of the weight, the swing, the possible oppositions and dissociations. The center is in the continuity of the barre. It uses both the movement quality and sensations, the objective being to master sensations for a better precision and understanding of movement.