Autres chorégraphies. No Super, No Boiler (1974) ; Lead us not into Penn Station (1975) ; Private Relations (1979) ; Oiseaux-pierres (1982, CNDC) ; Villa Nuage (1982, CNDC) ; Ainsi de suite (1992, cochor. M. *Monnier) ; Three Step (Shipwreck) (1995, chor. et interprété avec R. *Lemon). Filmographie. Brazos River (v. 1970, avec R. *Rauschenberg et D. *Tudor).
Peter FARMER (né en 1941).
Scénographe britannique.
Il se fait connaître comme peintre et signe sa première scénographie pour le ballet Agriona (1964, J. *Carter), puis celle du *Giselle (1966, B. de *Stuttgart) de P. *Wright, version souvent reprise par d'autres compagnies, dont la *Royal Ballet Touring Company, en 1968. Il collabore ensuite avec la plupart des grandes compagnies dans le monde entier et travaille souvent pour le *Sadler's Wells Royal Ballet-*Birmingham Royal Ballet, notamment pour les et reprises de The Dream et Birthday Offering de F. *Ashton, et pour le *Royal Ballet, avec la *Belle au bois dormant (1977, K. *MacMillan). Engagé le plus souvent pour des ballets classiques situés dans des décors naturalistes, il collabore aussi à des œuvres contemporaines, concevant de nombreux effets frappants pour *Stages (1971) de R. *Cohan, qu'il retrouve en 1974 pour No Man's Land et en 1989 pour Crescendo, In Memory, Metamorphoses et Stone Garden.
CH
Autres collaborations. Wright (Namouna, 1967 ; la *Belle au bois dormant, 1968, Cologne) ; E. *Feld (Meadow Lark, repr. 1969, *London Fest. B.) ; J. *Carter (*Coppélia, 1969, London Fest. B.) ; Robert de Warren (*Cendrillon, 1979, *Northern B. Th.) ; A. * Prokovski (Anna Karénine, 1979, *Australian B. ; *Casse-Noisette, 1980, Northern B. Th.) ; les Trois Mousquetaires, 1980, Australian B.).
Betty Farrally, [ndn. Hey B. ] (1915-1989).
Pédagogue et directrice artistique canadienne d'origine britannique.
Elle se forme à Londres auprès de G. *Lloyd dont elle devient indissociable. L'ayant d'abord suivie à Leeds pour enseigner, elle émigre avec elle au Canada. Elles fondent, en 1938, le Winnipeg Ballet Club qui deviendra le *Royal Winnipeg Ballet en 1953. Figure de proue des débuts du ballet canadien, elle est codirectrice jusqu'en 1950, puis directrice de cette compagnie très active. En 1957, elle quitte la scène et, avec Lloyd de nouveau, fonde une école de danse classique à Kelowna (Colombie-Britannique). Longtemps coprésidente du Banff Centre (Alberta), Farallyen devient plus tard conseiller artistique pour le programme d'été.
LHB
Suzanne Farrell, [ndn. Ficker Roberta Sue ] (née en 1945).
Danseuse et pédagogue américaine.
Formée à la danse classique à Cincinnati puis à la *School of American Ballet, elle est engagée au *NYCB en 1961 et devient l'une des muses de G. *Balanchine. En 1969, elle quitte la compagnie avec son mari, le danseur Paul Mejia, se produit quelque temps avec le *National Ballet of Canada, puis de 1970 à 1974 au *Ballet du XXe siècle. Elle revient en 1975 au NYCB où elle danse jusqu'à ses adieux à la scène en 1990. Elle enseigne depuis à la *School of American Ballet et remonte les œuvres de Balanchine dans le monde entier.
Considérée comme un « stradivarius » par Balanchine, elle se révèle un instrument idéal pour le chorégraphe : longiligne, possédant une musicalité et un sens du rythme instinctifs, elle maîtrise avec éclat et magnifie avec délicatesse les *variations qu'elle lui inspire, de Meditation (pas de deux avec J. d'*Amboise, 1963) aux solos Élégie et Variations for Orchestra (1982). Elle crée quantité de rôles, notamment Dulcinée dans Don Quichotte (1965, avec Balanchine dans le rôle-titre), *Jewels (1967), Tzigane (1975), Davidsbündlertänze (1980), Mozartiana (nouvelle version, 1981). Subtile incarnation de la féminité aux yeux de M. *Béjart, elle crée Sonate (1970), *Nijinski clown de dieu (1971), Ah ! Vous dirais-je maman (1972), *Golestan (1973), I Trionfi (1974) et s'impose aussi dans les reprises de *Romeo et Juliette en 1970, du *Sacre du printemps en 1972 et du *Boléro en 1974. Partenaire de J. *Donn au sein du Ballet du XXe siècle, elle forme un couple tout aussi inoubliable avec P. *Martins au NYCB. Elle publie ses mémoires, Holding On to the Air, à New York en 1996.
NL
Julia FARRON, [F. Joyce, dite] (née en 1922).
Danseuse et pédagogue britannique.
Formée à la *Royal Ballet School, elle entre à quatorze ans au *Vic-Wells Ballet. Psyché dans Cupidon et *Psyché (1939, F. *Ashton) reste sa seule création d'un rôle de premier plan et, curieusement pour un enfant prodige, c'est avec des reprises de rôles qu'elle bâtit une carrière durable et gratifiante, notamment dans le rôle-titre de Mam'zelle Angot (L. *Massine), la Reine noire (*Checkmate, N. de *Valois), Lykanion (*Daphnis et Chloé, Ashton) et le premier rôle dans Ballet Imperial (G. *Balanchine). À partir de 1961, elle se produit comme artiste invitée, créant notamment le rôle de Lady Capulet dans le *Roméo et Juliette (1965) de K. *MacMillan, et mène de front une carrière respectée dans l'enseignement, à la Royal Ballet School à partir de 1964, puis à la Royal Academy of Dancing, qu'elle dirige de 1983 jusqu'à sa retraite, en 1989.
JS, LK
Antonio FARRUCO, [Montoya Flores A., dit] (1936-1997).
Danseur de flamenco espagnol.
Né près de Madrid, il commence à danser à six ans, à Séville. Il se produit dans la troupe du chanteur Manolo Caracol et dans divers cabarets, dont le célèbre El Guajiro à Séville, intègre la compagnie de P. *López en 1955, puis celle de José Greco, en 1965.
Il ouvre sa propre académie de danse à Séville, et danse occasionnellement avec sa famille. Son flamenco est la parfaite illustration d'une conception gitane, faite d'expressivité, de rage sublimée et de duende. Son *zapateado, d'une minutieuse délicatesse, évoque le souvenir du pas des chevaux, lorsque, enfant, il accompagnait ses parents sur les marchés. Lors de ses dernières prestations, comme à la Biennale de Lyon en 1995, il se contente d'apparaître sur scène pour présenter son petit-fils, el Farruquito.
JMA
Gabriel FAURÉ (1845-1924).
Compositeur français.
Fils d'instituteur, il rencontre C. *Saint-Saëns dans un pensionnat religieux et devient organiste comme lui, exerçant à l'église de la Madeleine à partir de 1896. Devenu sourd, il est nommé directeur du Conservatoire de Paris en 1905, où il forme les plus importants compositeurs français, tels M. *Ravel, P. *Dukas, et F. *Schmitt. Composant surtout des mélodies et de la musique de chambre, il est l'un des premiers à mêler les harmonies tonale et modale, dans une œuvre intimiste aux couleurs diaphanes.
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