La philosophie de l'expression artistique de Diderot développe une conception de la *mimésis de la représentation qui, au-delà de son époque, concerne l'ensemble de l'art moderne. L'art est pour Diderot à la fois l'expression de la nature et de la société. L'artiste est un individu impliqué dans une histoire, une époque, des mœurs. Il doit en tenir compte. Il en va de l'authenticité de son geste. Ainsi, pour être authentique, le théâtre doit donner l'illusion de la réalité. C'est ce qui conduit Diderot à inventer la notion de « quatrième mur » : « Imaginez sur le bord du théâtre un grand mur qui vous sépare du par-terre. Jouez comme si la toile ne se levait pas » (Discours de la poésie dramatique, 1758). Cette conception ouvre sur la possibilité de mises en scène ou de chorégraphies non frontales, comme perçues dans un espace naturel. L'authenticité n'exclut pas pour autant le recours à l'artifice : le fameux « paradoxe du comédien » réside dans le fait que, pour être juste, il ne doit pas être dupe des sentiments qu'il exprime en les maîtrisant par une technique corporelle. Pour Diderot, le geste juste est à la fois beau et vrai. Il pose ainsi le principe à la fois esthétique et éthique d'une responsabilité individuelle de l'artiste. Enfin, il développe l'idée du geste sublime qui, transcendant la signification du discours, touche aux fondements même d'une poésie qui « veut quelque chose d'énorme, de barbare et de sauvage » (Entretiens sur « le Fils naturel », 1757) : une conception qui semble déjà évoquer le projet d'A. *Artaud.
AF
Valéria Dienes (1878-1978).
Philosophe et chorégraphe hongroise.
Diplômée en philosophie, mathématiques et esthétique de l'université de Budapest en 1905, traductrice des œuvres d'Henri Bergson, dont elle est l'élève à la Sorbonne, à Paris (1908-1912), elle y travaille aussi avec R. *Duncan en 1912 et 1921. Elle crée un système de mouvement corporel, l'orchestique, basé sur quatre disciplines : plastique, rythmique, dynamique et symbolique, correspondant respectivement au travail de l'espace, du temps, de la force et de l'expression du mouvement. Ce système, qu'elle développe de 1912 à 1944 au sein de son École d'orchestique à Budapest, conduit à une analyse de l'expression humaine qu'elle désigne sous le nom d'« évologique » et qui se décline selon quatre axes : la conservation du passé, l'absence d'identité, le devenir permanent, l'irréversibilité. Elle crée sa première grande chorégraphie en 1925 (l'Attente de l'aube), suivie de nombreuses autres, dont des paraboles bibliques (les Huit Béatitudes, 1926 ; le Semeur, 1933), des contes populaires (la Princesse Blanche, 1929 ; *Cendrillon, 1934) et surtout des drames historiques (le Mystère de saint Émeric, 1930 ; le Chemin de l'enfant, 1935 ; Patrona Hungariae, 1938), pour la musique desquelles elle collabore souvent avec Lajos Bárdos.
GD
Urs DIETRICH (né en 1958).
Danseur et chorégraphe suisse.
Formé à l'école Folkwang d'*Essen, il y crée Hiob en 1984 et, pour le *FTS, Das kalte Gloria (1987). Dès 1988, il collabore avec S. *Linke pour Affekte et assume avec elle la direction du Tanztheater de Brême en 1994. Son style sobre et très dansant s'affirme dans sa chorégraphie Da war plötzlich Herzkammern (1995).
MF
Bibliographie. U. Dietrich, Genèse d'une chorégraphie, Das kalte Gloria, XXXXXX, Essen, 1990.
Gerlinde DILL (née en 1933) .
Danseuse et maîtresse de ballet autrichienne.
Elle étudie à l'École de l'Opéra de *Vienne ainsi qu'à Paris notamment. En 1949, elle rejoint le Ballet de l'Opéra de Vienne, où elle interprète des rôles de soliste très variés. Parallèlement, elle travaille comme chorégraphe assistante, répétitrice, et enseigne à l'École de ballet. Maîtresse de ballet (1980-1990), puis directrice (1990-1991) du Ballet de l'Opéra de Vienne, elle dirige ensuite le Ballet de l'Opéra de Graz (1991-1994). En 1983, elle remonte Die Puppenfee de J. *Hassreiter. Elle est également responsable des chorégraphies des concerts de nouvel an du Philharmonique de Vienne pour la télévision autrichienne de 1976 à 1995.
GOS
Pompeo Diobono (XVI e s.).
Danseur et maître à danser italien.
Il fonde en 1545, à Milan, une célèbre école de danse où se forment de nombreux maîtres (dont, peut-être, B de *Beaujoyeulx) qui exporteront ensuite le style italien dans les cours d'Europe. En 1554, il est invité à Paris par le maréchal de Brissac, gouverneur français du Piémont, et s'y rend accompagné d'une bande de violons. Il est alors chargé de l'éducation de Charles, duc d'Orléans, fils d'Henri II, puis reste au service de la cour comme danseur et valet de chambre conservant ces charges durant près de trente ans. C. *Negri s'en souvient comme d'un danseur " doté par la nature d'une taille svelte, belle et proportionnée ".
MN
Catherine DIVERRÈS (née en 1959).
Danseuse et chorégraphe française.
Elle commence sa formation par la danse classique dès l'âge de cinq ans, abordant notamment la technique *Vaganova avec Suzan Oussov. À partir de 1975, elle s'initie au différentes techniques modernes (*Limón, *Graham, *Cunningham, *Nikolais), puis entre à *Mudra. Elle danse ensuite chez F. *Blaska et D. *Bagouet. En 1979, elle rencontre B. *Montet, avec qui elle se rend au Japon (1983) pour suivre l'enseignement de K. *Ôno. Ils y créent alors *Instance , duo fondateur de leur langage chorégraphique, courroné ensuite du 1erprix du Concours de *Nyon. À nouveau primés à *Bagnolet en 1984 pour le Rêve d'Helen Keller , ils poursuivent leur travail au sein de leur compagnie, le Studio DM. En 1994, ils prennent conjointement la direction du *CCN de Rennes, que Diverrès assure seule depuis 1998.
Déterminante, la rencontre avec K. Ôno permet à C. Diverrès d'ouvrir une voie qui se détache aussi bien du modèle *expressionniste allemand que des courants *minimalistes américains. Basé sur un déploiement de l'espace intérieur, son travail de création a pour point de départ une approche du vide qui suscite l'émergence d'images mentales profondes. Ce processus contribue à créer un univers commun à l'ensemble de ses danseurs et nourrit la qualité du geste. Chez elle, la danse est duelle, soumise au doute, à la contradiction. Le mouvement est en tension vibratile ou nerveux, marqué de troubles, de ruptures d'où naissent de purs moments de fluidité et de grâce.
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