Autres chorégraphies. La Belle et la Bête (1949) ; Pineapple Poll (1951) ; Harlequin in April (1951) ; Bonne Bouche (1952) ; The Shadow (1953) ; The Lady and the Fool (1954) ; Katalyse (1961) ; L'Estro Armonico (1963) ; le Lac des cygnes (1963) ; l'*Oiseau de feu (1964) ; Jeu de cartes (1965) ; Opus 1 (1965, mus. *Webern) ; Brandenburg Nr 2 und 4 (1966), Konzert für Flöte und Harfe (1966, mus. *Mozart) ; *Casse-Noisette (1966) ; Die Befragung (1967) ; Oiseaux exotiques (1967) ; Quatre Images (1967) ; Fragmente (1968) ; Présence (1968) ; la Mégère apprivoisée (1969) ; Brouillards (1970) ; Ebony Concerto (1970) ; Die Jahreszeiten (1971) ; Into the Cool (1971) ; Initialen R.B.M.E. (1972) ; 1+8 (1972) ; Spuren (1973). Bibliographie. J. Cranko, W. E. Schäfer, Über den Tanz, éditeur, Francfort-sur-le-Main, 1974 ; N. de *Valois et W. E. Schäfer, John Cranko und das Stuttgarter Ballet, éditeur, Stuttgart, 1973 ; H. Kilian et K. Geitel, John Cranko, Ballett für die Welt, éditeur, Sigmaringen1977 ; J. Percival, John Cranko, éditeur, Londres1983. Filmographie. Cranko's Cast. (1967, BBC).
Margaret CRASKE (1892-1990).
Danseuse et pédagogue britannique.
Après un bref passage aux *Ballets Russes de Diaghilev où elle étudie avec E. *Cecchetti, elle devient l'une des grandes figures de l'enseignement classique. Pédagogue de référence de la méthode Cecchetti, elle enseigne à Londres avant de s'installer aux États-Unis en 1946, où A. *Tudor l'invite comme maîtresse de ballet à l'*ABT. En 1950, elle commence à enseigner à la *Juilliard School et au *Metropolitan Opera Ballet de New York, dont elle est aussi directrice adjointe. Elle dirige son propre studio à la Manhattan School of Dance, de 1968 à 1983, puis enseigne à la Ballet School de New York. Elle cosigne deux ouvrages sur la méthode Cecchetti : The Theory and Practice of Allegro in Classical Ballet (avec C. *Beaumont, 1930), Practice of Advanced Allegro in Classical Ballet (avec F. *Derra De Moroda, 1956).
CH
Joan CRAWFORD. [Le Sueur Lucille Fay, dite ] (1904-1977).
Actrice américaine.
C'est en remportant un concours de *charleston qu'elle attire l'attention sur elle, réussissant à se faire engager dans des cabarets puis à la *MGM comme chorus girl. Elle apparaît alors dans divers films (Our Dancing Daughters, 1928 ; Our Modern Maidens, 1929 ; The Hollywood Revue of 1929, Dancing Lady, 1933) dans lesquels elle danse le charleston et symbolise souvent la jeune femme insouciante de l'époque, la flapper. Devenue une grande actrice hollywoodienne, c'est presque par accident qu'elle sera de nouveau l'interprète d'un film musical, Torch Song (la Madone gitane) de Ch. *Walters (1953).
PBr
Kilina CREMONA (née en 1947).
Danseuse, chorégraphe et pédagogue française.
Elle étudie à Paris (K. *Waehner) et New York (M. *Graham, M *Cunningham, V. *Farber) et danse pour *D. Wagoner, D. *Gordon, T. *Tharp. Elle enseigne à Montréal et au studio Cunningham à New York où elle crée, en 1977, la compagnie Cremona-Meguin qui, après son retour en France en 1980, poursuit son activité à Lyon. Primée à *Bagnolet avec Symphonie solitude (1990), elle dissout sa compagnie en 1993 et s'installe à Zagreb (Croatie) en 1995.
Très marquée par Cunningham, elle signe des créations d'une grande rigueur formelle de Boivre (1980), pièce sans musique, à Alphard (1985, mus. Lubomir Melnyk), atteignant une danse plus légère et émotive avec Nuvol blanc (1990, mus. Luis Llach). Pédagogue exigeante, elle poursuit son travail de recherche à Zagreb, où elle fonde en 1996 le centre de danse Athena qui se veut un " espace de liberté, de tolérance et de partage ".
LB
Autres chorégraphies. Corne d'Est (1984) ; Escia (1985) ; Copernic opéra (1986) ; l'Éloge de la gourmandise (1996).
Ann Crosset (née en 1956).
Danseuse et chorégraphe danoise d'origine américaine.
Originaire de Cincinnati, elle se forme à la *Juilliard School de New York et arrive à Copenhague en 1977. Avec Cher Geurtze, également formée aux États-Unis, elle fonde le groupe Uppercut. Sa recherche sur le mouvement, qui laisse place à l'humour, joue un rôle précurseur pour la *nouvelle danse au Danemark. De 1989 à 1993, elle travaille à Los Angeles où elle se fait remarquer par un *danse-théâtre provocant. De retour au Danemark, elle collabore avec différents théâtres et se consacre beaucoup à l'enseignement.
EA
Crowsnest Trio.
Groupe de chorégraphes-danseurs formé en 1979.
Les deux fondateurs, M. *Clarke et R. *Barnett, transfuges du *Pilobolus Dance Theater, sont rejoints par F. *Blaska en 1981 puis par la danseuse française Marie Fourcaut en 1983. Dès 1979, le groupe crée une série de pièces (10 Haikus ; Gibus Gibbous? Moon ; Nocturne ; Fallen Angel ; Garden of Villandry) données en tournées internationales (notamment au Théâtre de la Ville à Paris). Dominé par de fortes performances techniques, son travail oscille entre des univers purement théâtraux et une danse plus abstraite.
GV
George CRUMB (né en 1929).
Compositeur américain.
Élève de B. *Blacher, entre autres, auteur éclectique, il puise à diverses sources : musique médiévale, *comédie musicale, tradition orientale et folklore européen. Sa musique laconique, aux sonorités originales (Vox Balenae, 1971), a souvent un caractère théâtral, voire mystique, la tension dramatique dont elle est empreinte étant parfois même mise en scène au concert (Star Child, 1977).
Il ne compose pas pour la danse : « La musique est en soi une chorégraphie », dit-il. Ses œuvres reflètent de fait une sensibilité particulière au mouvement, comme Makrokosmos, chorégraphié en partie par J. *Neumeier (Die Stille, 1975). C'est toutefois Ancient Voices of Children, composé sur des poèmes de F. *García Lorca, qui inspire le plus les chorégraphes - de Jan Stripling (Voices From the Past, 1971) à E. *Loring (The Voice, 1976) - ainsi que Black Angels.
MJS
Sur la musique de Crumb. J. *Butler (According to Eve, 1965 ; *Othello, 1976) ; *Tetley (Stationary flying, 1973) ; Ch. *Bruce (Echoes of a Night Sky, 1976 ; Night with Waning Moon, 1979) ; *Bohner (Café Müller, 1978) ; *Butcher (Landscape, 1979) ; *Graham (Phaedra's dream, 1983).
Cuba (Ballet national de)
Compagnie classique cubaine fondée en 1959 et basée à La Havane.
En 1959, après la prise du pouvoir par Fidel Castro, la compagnie, fondée en 1948 par Alicia *Alonso et son mari Fernando Alonso, devient nationale. Ambassadeur de la culture chorégraphique de l'île, le Ballet national se développe sur le modèle soviétique mais avec des spécificités qui apparaissent dans son répertoire. À côté des grands classiques du XIXe s., les œuvres d'Alberto *Alonso, A. *Méndez, Jorge Lefèbre, José Parès, Gustavo Herrera ou Ivan Tenorio apportent une couleur plus locale. Des artistes cubains tels le compositeur Ernesto Lecuona, véritable gloire nationale, et Leo Brouwer, un maître de la guitare, sont sollicités pour ces productions ainsi que des décorateurs comme Salvador Fernández ou Ricardo Reymena. Une génération d'étoiles brillantes naît dans le sillage d'Alicia Alonso parmi lesquelles L. *Araujo, Aurora Bosch, Joséfina Méndez, Mirta Pla, Marta García, Maria Elena Llorente, Amparo Brito, Rosario Suárez pour les femmes, Jorge Esquivel, Orlando Salgado, Lazaro Careno, Andres Williams pour les hommes. Tous se distinguent par la qualité de leur style, la vigueur de leur technique, la force de leur tempérament dramatique. D'innombrables tournées font connaître la danse cubaine à travers le monde et les récompenses remportées par ses étoiles dans les compétitions internationales (*Varna, *Moscou, *Paris) contribuent aussi à son renom. La compagnie possède son propre établissement scolaire où se transmet la tradition pédagogique et d'où sont issues toutes les étoiles. Grâce à l'action d'Alicia Alonso, on peut dire qu'il existe une véritable école cubaine, comparable aux écoles russe, italienne, danoise et française.
JCD
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