Institution fondée par lettres patentes de Charles IX en 1570.
Constituée à l'initiative du poète Jean Antoine de Baïf et du luthiste Thibault de Courville, elle a pour objectif principal de recréer le drame antique. Elle se fond en 1574 avec l'Académie du palais créée par Henri III et disparue en 1584. Membre de la Pléiade, disciple de Dorat, humaniste et érudit, admirateur des anciens, Baïf aspire à renouveler la poésie française et à célébrer son union avec la musique en substituant, selon le modèle grec, la quantité à l'accent comme base du vers français. Appliquée à la danse, étroitement liée à la musique, elle-même indissociable de la poésie, cette approche ambitionne de produire des effets puissants sur l'âme du spectateur et de la purifier. Mais si la danse " mesurée à l'antique ", dont Baïf a été l'instigateur, remporte un certain succès au point que, selon Agrippa d'Aubigné, " depuis [le *Ballet aux Ambassadeurs polonais] il ne se fit plus de balets ni de mascarades que sous la conduite de Baïf et de Mauduit ", elle ne semble pas leur avoir survécu.
ERou
Académie royale de danse
Institution française fondée en 1661 et qui disparaît à la fin des années 1770.
Son établissement par Louis XIV provoque la colère de la communauté des *Ménestriers qui refuse de perdre le privilège de l'enseignement de la danse qu'elle possède alors. Celle-ci tente en vain de contrecarrer la volonté d'indépendance des *maîtres à danser. Délivrées en mars 1661, les lettres patentes sont enregistrées au parlement le 30 mars 1662, et un arrêté solennel le 5 avril 1695 met fin pour un temps à la querelle en accordant sensiblement des droits égaux à chacun. La dernière liste des membres composant l'Académie royale de danse est publiée par l'Almanach des spectacles de Paris en 1779.
Distincte de l'*Académie royale de musique avec laquelle elle n'a jamais fusionné, elle a pour fonction de réfléchir, d'analyser et de normaliser en matière de danse, puis de diffuser les règles établies en son sein. Élus par leurs pairs, au nombre de treize, les " académistes " sont à l'origine tous proches du roi et de son entourage. Ils sont ensuite recrutés parmi les interprètes de l'ARM. Au fil du temps, le travail de réflexion et de théorisation (sur lequel aucun document officiel ne nous est actuellement parvenu) semble abandonné au profit de la formation de danseurs pour la troupe de l'ARM.
NL
Académie royale de musique
Nom officiel de l'Opéra de *Paris sous l'Ancien Régime.
L'institution devient l'Opéra ou le Théâtre national de la République et des Arts pendant la Révolution, l'Académie impériale de musique de 1804 à 1815 puis de 1850 à 1871, retrouve sa dénomination d'origine sous la Restauration (1815-1848), prend le nom de Théâtre national de l'Opéra à la fin du XIXe s. et finalement d'Opéra de Paris en 1990.
NL
Accademia Nazionale di Danza
École de danse publique italienne, fondée à Rome en 1948.
Dès 1940, une section danse est ouverte sous le nom de Regia Scuola di Danza au sein de la Regia Accademia d'Arte Drammatica [Académie royale d'art dramatique]. En 1948 elle devient autonome et se transforme en Accademia Nazionale, sous la direction de J. *Ruskaïa. En 1969, Giuliana Penzi lui succède à la direction jusqu'en 1990 puis Lia Calizza (1990-1996) et Margherita Parrilla depuis 1996. Hormis quelques modifications, dont l'intégration d'un lycée aménagé en 1976, l'École a conservé sa structure d'origine. Elle propose huit années d'études parallèlement aux classes de collège et de lycée, ainsi qu'un cycle de perfectionnement de trois ans pour les professeurs, chorégraphes et danseurs solistes. Un cycle de formation supérieure de trois ans, l'Avviamento coreutico, prépare en outre à l'enseignement de la danse aux enfants de cinq à treize ans. Les matières pratiques (danse classique et moderne, composition, répertoire, physiotechnique) sont enrichies, dès la quatrième année, par des matières théoriques (théorie musicale, histoire de l'art, histoire de la musique, théorie de la danse, histoire de la danse, anatomie, espace scénique, etc.).
FP
Adolphe Charles ADAM (1803-1856).
Compositeur français.
Encouragé par L. J. F. *Hérold, il entre à dix-sept ans au Conservatoire de Paris pour étudier la composition avec F. A. Boieldieu. Second prix de Rome en 1825, il suit l'exemple de son maître en composant de nombreux opéras-comiques, comme le Chalet (1834) ou Si j'étais roi (1852), marqués par une musique alerte et brillante, et qui lui assurent un certain renom. De 1847 à 1848, il dirige à Paris son propre théâtre, baptisé l'Opéra-National, expérience dont il sort ruiné. Il exerce aussi ses talents de critique dans de nombreux journaux et enseigne la composition au Conservatoire, notamment à L. *Delibes qui lui vouera une admiration sans borne.
Son nom reste surtout associé à la musique de ballet. Après une collaboration avec Casimir Gide pour la *pantomime la Chatte blanche (1830, th. des Nouveautés, Paris), une probable contribution à la partition de la *Sylphide (1832), et la composition du ballet *Faust (1833, A. J. *Deshayes, King's Theatre, Londres), c'est avec la *Fille du Danube (1836, Ph. *Taglioni, Op. de *Paris) qu'Adam se révèle pleinement dans un genre qu'il affectionne particulièrement et pour lequel il signera quatorze partitions : " Rien ne me plaît davantage que cette besogne qui consiste, pour trouver l'inspiration, [ ] à regarder les pieds des danseuses. [ ] On ne travaille plus, on s'amuse. " Si la *Jolie Fille de Gand (1842), le *Diable à quatre (1845) et le *Corsaire (1856), créés à l'Opéra de Paris, renouvellent ce premier succès, c'est sutout *Giselle ou les Wilis (1841) qui lui vaut la consécration et, depuis, une place privilégiée dans l'histoire de la danse. Pour la partition de cette œuvre, appelée à devenir l'archétype du ballet romantique, il déclare avoir voulu " élever la musique de danse à un rang plus élevé que celui qu'on lui assigne généralement ". Saluée en son temps par Th. *Gautier, la musique de ballet d'Adam sera pourtant régulièrement l'objet de sévères critiques avant d'être reconnue à sa juste valeur. Avec un sens aigu de la concision dramatique, elle traduit simplement les conceptions d'un compositeur qui, reconnaissant le talent de H. *Berlioz ou de G. *Meyerbeer, avoue toutefois " préférer le style lumineux et purement mélodique de l'école de G. *Rossini à la manière plus fortement accentuée peut-être, mais aussi moins vocale et plus travaillée qui distingue l'école allemande ".
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