Textes adaptés. Les Cent Baisers (1935, *Nijinska ; 1936, H. *Lander ; 1969, *Flindt) ; les Habits neufs de l'empereur (1936, *Lifar ; 1938, N. de *Valois ; 1971, Dietmar Seyffert) ; les Fleurs de la petite Ida (1916, Walbom ; 1950, *Birkmeyer) ; les Chaussons rouges (1898, *Hassreiter ; film [1948], réal. M. Powell et E. Pressburger, chor. *Helpmann, *Massine et A. *Carter) ; la Petite Sirène (1909, *Beck) ; Douze Voyageurs en malle-poste (1942, Borge Ralov) ; le Valeureux Soldat de plomb (1975, *Balanchine).
Ib ANDERSEN (né en 1954).
Danseur et chorégraphe danois.
Formé à l'École du *Ballet royal danois, il est nommé danseur principal de la compagnie en 1975, puis rejoint le *NYCB en 1980. Il cesse de danser en 1990 à la suite d'une blessure à la hanche et travaille depuis comme chorégraphe et maître de ballet, notamment à Pittsburgh et Oslo.
Sa technique nette et une étonnante légèreté dans les sauts donnent à sa danse un lyrisme particulier, accentué par la joie et l'innocence juvénile que lui confère sa blondeur. Il se révèle en 1974 en campant un intrépide Roméo dans le *Roméo et Juliette de J. *Neumeier, abordant ensuite des rôles romantiques (James dans la *Sylphide de A. *Bournonville) ou modernes (la Victime dans le *Sacre du printemps de G. *Tetley en 1978). Mais il s'épanouit surtout dans le style néoclassique de G. *Balanchine, comme l'atteste son aurorité espiègle dans le rôle-titre d'*Apollon Musagète ou sa musicalité touchante dans Mozartiana.
AMC
Chorégraphie. En-to-tre [Un, deux, trois] (1987, mus. *Liszt et J. *Strauss, Copenhague) ; Baroque Variations (1988, mus. L. *Foss, New York) ; Fête galante (1989, mus. *Grieg et *Couperin, Copenhague) ; Holbergsuite (1993, mus. Grieg, Bergen). Bibliographie. K. Cunningham, “ Ib Andersen ”, in Ballet Review, vol. 9, n° 3, 1981.
Lea Anderson (née en 1959).
Danseuse et chorégraphe britannique.
Elle fréquente les beaux-arts et le monde du rock, puis étudie la danse au *Laban Centre où elle rencontre en 1984 Teresa Barker et Gaynor Coward : ensemble, elles forment The Cholmondeleys (prononcer Chomlies), groupe dont le nom s'inspire d'un tableau élizabethain exposé à la Tate Gallery. Elles commencent à montrer leurs spectacles dans les bars et night-clubs de Londres et dansent aussi en extérieur dans des endroits insolites. Rejoint par Rossana Sen en 1986, le groupe évolue par la suite selon les productions, mais reste composé uniquement de femmes. Parallèlement, Anderson fonde, en 1988, The Featherstonehaughes (prononcer Fanshaws), compagnie exclusivement masculine.
Si elle crée aussi des pièces “ conjointes ”, Anderson tient à la version “ unisexe ” pour mieux interroger les différences homme-femme. Souvent dansées à l'unisson, avec un grand souci d'exactitude, ses chorégraphies insistent sur l'individualité des interprètes. Évitant les physiques stéréotypés en ce qui concerne les danseuses, elle fuit aussi les mouvements de danse — phénomène encore accentué avec les danseurs —, leur préférant des mouvements quotidiens, transformés en codes précis, auxquels elle donne une dimension poétique et émouvante par la répétition ou la juxtaposition. Mêlant le rock et la mode à la danse, elle questionne les conventions avec irrespect et beaucoup d'humour (anglais). Rebelle à ses débuts, elle est devenue une des chorégraphe les plus importantes de sa génération, dont elle est aussi le porte-parole.
OD
Autres chorégraphies. Pour The Cholmondeleys : Dragon (1985) ; Baby, Baby, Baby (1985) ; Fish Wreck (1987) ; NoJoy (1987) ; Clump (1988) ; Flesh and Blood (1990) ; Walky Talky (1992) ; Metalcholica (1994) ; Car (1995). Pour The Featherstonehaughes : Big Feature (1991) ; Immaculate Conception (1992) ; The Featherstonehaughes Go Las Vegas (1995) ; Featherstonehaughes Draw on the Sketch Books of Egon Schiele (1998). Conjointement : Birthday (1991) ; Precious (1993).
Adolfo ANDRADE (né en 1925).
Danseur, chorégraphe et pédagogue argentin.
Après une formation à Buenos Aires avec M. Borowski, E. *Bulnes et Basili Lambrinos, il débute une carrière internationale en intègrant le Ballet du marquis de *Cuevas en 1955. En 1957, il est engagé en qualité de danseur étoile et chorégraphe dans la compagnie de M. *Béjart tandis que l'écrivain Françoise Sagan l'invite à interpréter le Rendez-vous manqué à New York et en Europe. En 1959, il crée son premier ballet, Orfeo, au festival d'Édimbourg. Il poursuit une carrière de danseur et de chorégraphe, notamment en France (Opéras de Bordeaux, Toulouse, Lyon) ainsi qu'au *Teatro Colón comme invité. Il se tourne par la suite vers l'enseignement, développant une méthode pédagogique qui vise à débarrasser la technique classique de ce qu'elle a de désuet et qu'il expose dans Pour une danse enfin libérée (Robert Laffont, Paris, 1998).
AF
Elena ANDREÏANOVA (1819-1857).
Danseuse russe.
Après des études à l'École théâtrale de *Saint-Pétersbourg, elle est première danseuse au *Bolchoï de cette ville de 1837 à 1854. Elle se distingue dans tous les ballets romantiques, dont *Giselle (1842, A. *Titus), la *Péri (1844, Frédéric), *Paquita (1847, M. *Petipa), Satanilla (1848, Petipa), danse Hélène dans l'opéra *Robert le Diable et Fénella dans la Muette de Portici. J. *Perrot crée pour elle le rôle de la Fée noire dans la Filleule des fées et celui de Berthe dans le *Diable à quatre (1850-1851). À partir de 1845, elle se produit aussi à Moscou, Paris, Londres, Milan. En 1853-1854, elle fait des tournées en Russie à la tête d'une petite compagnie pour laquelle elle monte, entre autres, la *Fontaine de Bakhtchissaraï (elle est la première à utiliser ce sujet d'A. *Pouchkine).
ESou
Jerome ANDREWS (1908-1992).
Danseur, chorégraphe et pédagogue américain.
Il étudie la danse à Seattle puis travaille avec *Humphrey, *Graham, *Holm et au *Radio City Music Hall de New York. Il s'installe à Paris en 1952. Danseur singulier et expressif, il crée des solos qu'il donne en récital (le Pierrot, dipe, 1954) et fonde les Compagnons de la Danse (1953) avec J. *Robinson, K. *Waehner, O. *Stens, Laura Sheleen puis la J. Andrews Dance Co. avec Noelle Janoli (1964). Sa rencontre avec M. *Wigman en 1951 est déterminante. Elle le conduit à développer la recherche d'une " danse profonde ". Il associe rigueur technique et spontanéité instinctive stimulée par des manipulations d'objets et d'étoffes. Excellent pédagogue, il base son enseignement sur la perception tactile de la peau et la pratique de la machine *Pilates.
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