Réputé pour ne jamais rien préparer à l'avance, il renouvelle profondément l'approche de la chorégraphie à Broadway, présentée jusqu'alors sous forme d'une ligne de danse à l'unisson, la fameuse *chorus line, qu'il fragmente en petits groupes et dans laquelle il inclut des solos. Il signe pour le théâtre musical des mises en scènes élégantes, fourmillant de détails, et s'illustre au cinéma dans les danses d'ensemble et sa capacité à règler de brillants numéros individuels.
PBr
Autres chorégraphies pour le théâtre musical. Hazel Flagg (1953) ; Me and Juliet (1953).
Manuel ALUM (né en 1944).
Danseur, chorégraphe et pédagogue portoricain.
Il découvre la danse au cours d'une répétition d'Alicia *Alonso, mais c'est le travail de S. *Shearer qui décide définitivement de sa vocation. Il commence sa formation à Chicago avec Neville Black. Dès 1961, il se rend à New York pour étudier la danse moderne auprès de M. *Graham, tout en abordant la technique classique, notamment avec M. *Slavenska. En 1962, il rencontre P. *Sanasardo, qui l'engage dans sa compagnie, où il reste pendant dix ans, assurant successivement les fonctions de danseur principal, chorégraphe et directeur artistique assistant.
Dès 1963, il signe pour la compagnie Sanasardo ses premières créations, dont Storm (1966), qui est considéré comme son œuvre la plus marquante. En 1972 il fonde sa propre compagnie et développe pour celle-ci un répertoire au style fortement personnel (East-To Nijinski, 1973). Invité dans le monde entier, il monte Juana (1973) pour la compagnie *Bat-Dor, Moonscapes (1973) pour le *Dance Theater of Harlem , et Escaras (1974) pour le *Ballet Rambert.
Interprète fougueux et technicien accompli, il déploie son style vigoureux surtout dans les pièces de Sanasardo, qui crée spécialement pour lui Cut Flowers (1966). Il mène une grande activité pédagogique, dont l'aspect le plus important est sans doute sa tentative de susciter l'intérêt pour la danse moderne dans son pays natal. Il collabore aussi aux stages d'été de la School of Modern Dance au Saratoga Performing Art Center, en qualité de directeur assistant.
MDS
Autres chorégraphies. Wings I Lack (1963) ; The Cellar (1967) ; Palomas (1968) ; Yemaya (1974). Bibliographie. “ M. Alum ”, in Dance Magazine, 3, 1969 ; Dance and Dancers, déc. 1974.
Ushio AMAGATSU (né en 1949).
Danseur et chorégraphe japonais.
Personnalité majeure du *butô, il est l'un des fondateurs du groupe Dairakudakan, aux spectacles duquel il participe de 1972 à 1979, avant de créer sa propre compagnie, Sankai Juku [Atelier de la montagne et de la mer]. Dès les premiers spectacles, il part en quête de mythologies originelles : Shoriba (1979) rappelle les anciennes danses kagura du culte shintoïste ; Jomon Sho (1982) fait explicitement référence aux peintures rupestres et aux sculptures de la préhistoire, dans la mise en forme d'une gestuelle archaïque et tourmentée qui retrouve les expressions du difforme et de l'horrible. Il convoque ses souvenirs d'enfance dans Kinkan shonen [*Graine de cumquat] (1978) à travers le rêve d'un enfant qui s'imagine être un poisson. Présenté au festival de Nancy en 1980, ce spectacle lance la réputation internationale de Sankai Juku.
La mort tragique d'un membre de la compagnie à Seattle en 1985, lors d'une performance où les danseurs sont suspendus par les pieds à quelques dizaines de mètres de hauteur, marque un tournant décisif. Délaissant la radicalité sulfureuse du butô des origines, Ushio Amagatsu va opter pour une esthétique raffinée avec des œuvres dans lesquelles " les ténèbres se taisent dans l'espace " (Shijima, 1988 ; repr. 1998, Th. de la Ville, Paris). Ce théâtre d'images semble propager une déflagration spectrale dont les danseurs, en officiants de rituels symbolistes, seraient l'onde lointaine. Les thèmes initiaux du butô, danse de vie et de mort, restent cependant présents dans l'œuvre d'Amagatsu : " Le butô est l'affirmation de la distance entre un être humain et l'inconnu [...], le corps du danseur de butô est comme une coupe sur le point de déborder ; ce corps atteint alors un état d'équilibre parfait. "
JMA
Autres chorégraphies. Amagatsu Sho (1977) ; Bakki (1981) ; Hanging Events (1984) ; Netsu no Katachi (1984) ; Unetsu / Des œufs debout par curiosité (1986) ; Omote (1991) ; Yuragi (1993) ; Hiyomeki (1995) ; Hibiki (1998).
Gamer AMAS-ZADE (née en 1915).
Danseuse, chorégraphe et pédagogue azérie.
Elle est envoyée par les autorités soviétiques - qui depuis la fin des années 1920 introduisent le ballet classique dans toutes les républiques de l'Union- à l'École de danse de *Moscou (1932) puis de *Leningrad (1933-1936) pour suivre une formation; elle danse ensuite au Théâtre d'opéra et de ballet de Bakou dans tous les ballets classiques montés par des chorégraphes russes. Elle devient chorégraphe, signant notamment Gulchen (1950, mus. S. Gadjibekov), la Tour de la jeune fille (1958, A. Badalbeïli), puis directrice de la compagnie, en 1953, et de l'école locale, en 1956. Elle est la pionnière du ballet en Azerbaïdjan.
ESou
Carmen AMAYA (1913-1963).
Danseuse espagnole.
Fille du guitariste El Chino, elle commence à danser à six ans dans un restaurant barcelonais, Las Siete Puertas, puis dans un music-hall parisien, le Palace , au début des années 1920, et enfin à Madrid, en 1923. En 1941, elle se produit avec l'illustre guitariste Sabicas au Carnegie Hall de New York, puis au théâtre des Champs-Élysées à Paris, où elle se produira plusieurs fois avec sa compagnie de ballets.
Grande rénovatrice du flamenco, inspirée et sauvage, elle est la première danseuse à présenter un spectacle entièrement *flamenco. Avec une " façon convulsive de piétiner la beauté ", elle développe un style unique en interprétant de façon magistrale des danses masculines, tout en faisant jaillir une danse de feu, profondément gitane, aux fulgurances mystérieuses et tourmentées qui restituent au flamenco sa dimension à la fois tragique et festive. À la fin du film Los Tarantos (1963, réal. Francisco Rovira Baleto), tourné peu avant sa mort, elle est une matriarche brûlée par son art, dont les doigts secs crépitent sur le bois d'une table, appelant au fond d'elle-même l'incantation du duende [l'esprit]. Parmi les nombreux écrivains à lui avoir rendu hommage, J. *Cocteau note : " Carmen Amaya, c'est la grêle sur les vitres, un cri d'hirondelle, un cigare noir fumé par une femme rêveuse, un tonnerre d'applaudissements. Lorsque sa famille s'abat sur une ville, elle y supprime la laideur, la lenteur, le morne, comme un vol d'insectes dévore les feuilles des arbres. "
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