Première danseuse américaine à faire la couverture de Time Magazine, elle est réputée à ses débuts pour son perfectionnisme absolu qui semble excéder les possibilités de sa constitution fragile. À l'ABT, elle enrichit sa technique déjà brillante de qualités dramatiques dont elle fait preuve dans tous les grands rôles classiques. Rare combinaison d'innocence juvénile, de précision et de maturité, c'est de son talent qu'elle paraît mourir lors de ses dernières représentations de *Giselle avec l'ABT, alors que le public retient son souffle, de surprise ou de crainte qu'elle ne puisse finir le ballet.
MK
Bibliographie. G.Kirkland avec G. Lawrence, Dancing on My Grave, éditeur, New York, 1986.
Kirov.
Appellation familière du Théâtre Mariinski et de son ballet de 1935 à 1991.
Pendant cette période le nom officiel du théâtre devient Gosoudarstvenny Akademitcheski Teatr Opery i Baleta imeni S. M. Kirova [Théâtre d'Etat académique d'opéra et de ballet S. M. Kirov], Kirov étant le nom d'un important fonctionnaire du parti communiste à *Leningrad assassiné en 1934.
ESou
Lincoln Kirstein (1907-1996).
Directeur de compagnie, écrivain et historien de la danse américain.
Il fait ses études à l'université Harvard. Il découvre le ballet en 1924 à Londres en assistant à une représentation des *Ballets russes de *Diaghilev. En 1933, il convainc G. *Balanchine de venir s'installer aux États-Unis. Il crée et dirige la *School of American Ballet et l'*American Ballet puis plusieurs compagnies (*Ballet Caravan, *Ballet Society) jusqu'à la fondation en 1948 du *NYCB. En 1959 et 1960, il présente également le théâtre japonais (gagaku et kabuki) aux États-Unis. Il se retire de la présidence de la School of American ballet et du NYCB en 1989. Héritier d'une riche famille de négociants de Boston, homme cultivé, attirés par les arts, il assouvit sa passion, décidé à développer la danse classique dans son pays. Grâce à ses relations, il fonde des structures de formation et de création qu'il met au service de Balanchine en qui il trouve le chorégraphe idéal. Affichant son dédain pour la danse *moderne, il entreprend la promotion du ballet, cherchant à former un public de connaisseurs. Il assiste (1932-1933) Romola Nijinska pour écrire la biographie de V. *Nijinski et publie à New York de nombreux livres, parmi lesquels Fokine (1934), Dance (1935), Blast at Ballet (1938), The Classic Ballet, Basic Technique and Terminology (1952), Movement and Metaphor (1970), Nijinsky Dancing (1975). Éditeur (1942-1948) de la revue Dance Index, il est aussi le fondateur en 1960 des Dance Archives du Museum of Modern Art de New York. Il joue un rôle capital dans l'implantation durable de la danse classique aux États-Unis ainsi que dans l'émergence d'une école et d'un ballet américains.
NL
Nora KISS (1908-1993).
Danseuse et pédagogue française d'origine russe.
Elle étudie notamment avec C. *Brianza et A. *Volinine, et danse pour B. *Romanov et G. *Balanchine (1929-1935). Dès 1938, elle se consacre à l'enseignement. Installée au Studio Waker, elle devient l'un des professeurs les plus réputés de l'après-guerre, souvent invitée à l'étranger. J.*Rayet, T.*Beaumont, A.*Kalioujni, M.*Béjart, P.*Bortoluzzi, figurent parmi ses élèves.
MFB
Darci KISTLER (née en 1964).
Danseuse américaine.
Elève d'Irina Kosmouska à Los Angeles dès l'âge de 12 ans, elle obtient deux ans plus tard une bourse pour la *School of American Ballet. En 1980, ayant A. *Danilova comme répétitrice, elle interprète le rôle principal dans le *Lac des cygnes de G. *Balanchine pour la présentation annuelle de l'école, et rejoint le *NYCB devenant soliste en 1981 et danseuse principale en 1982.
Dernière protégée de Balanchine, elle reprend les rôles principaux dans nombre de ses ballets et participe à la création d'Andantino (1981), Gershwin Concerto (1982) et Piccolo Balletto (1985) de J. *Robbins. P. *Martins, qu'elle épouse en 1991, crée des rôles pour elle notamment dans Suite from Histoire du Soldat (1981), Violin Concerto (1988, mus. S. *Barber), The Chairman Dances (1988), Delight of the Muses (1992).
RS
Ludwig KLAGES (1872-1956).
Philosophe et psychologue allemand.
Il est l'inventeur de la graphologie, système fondé sur la " loi de l'expression ", qui permet de cerner à travers le rythme graphique de l'écriture le " niveau vital " d'un individu et les tendances de son caractère. Sa théorie marque les premiers danseurs et gymnastes modernes à la fin des années 1910. Affirmant que la pensée rationaliste, incarnée par la civilisation technique, a rendu l'homme étranger au cosmos et a aliéné la vie de l'âme dans une cadence artificielle, il voit dans le rythme, symbole de la totalité du monde naturel, le moyen de restituer les ressources pulsionnelles de l'individu et de le replacer dans un rapport harmonieux avec son environnement. Ses propos, représentatifs du pessimisme néoromantique, abreuvent autant les courants utopiques de l'*Ausdruckstanz (R. *Laban, M. *Wigman) que ses tendances régressives (R. *Bode).
LGui
Bibliographie. L. Klages, Ausdrucksbewegung und Gestaltungskraft, Engelmann, Leipzig, 1913 ; " Vom Wesen des Rhythmus ", in Künstlerische Körperschulung (éd. L. Pallat, F. Hilker), Breslau, 1923.
Jutta KLAMT (1890-1970)
et Gustav FISCHER-KLAMT, [ndn. Vischer Gustav Johannes ] (1900-1946).
Jutta, élève de Hade Kallmeyer, fonde à Berlin en 1920 une école qui acquiert, avec son groupe, une grande notoriété. Son mari, Gustav, développe un système de notation, concurrent de celui de R. *Laban, son ancien maître. Tous deux, convaincus que le mouvement est une forme d'hygiène raciale, entrent au parti national-socialiste en 1933 et jouent un rôle actif dans la mise au pas du milieu de la danse. Jutta, qui présente son travail comme un modèle d'esthétique " germanique ", enseigne aux filles de Goebbels et collabore jusqu'en 1945 avec la Force par la joie. Gustav, éminence grise de R. *Cunz, introduit les cours de politique raciale aux Deutsche Meisterwerkstätten für Tanz, assiste F. *Böhme dans la constitution d'un fonds d'archives de la danse et publie de nombreux articles idéologiques. Il meurt en 1946 dans un camp soviétique, tandis que Jutta, dénazifiée, rouvre son école en 1952 et enseigne à l'université libre de Berlin jusqu'en 1969.
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