La nomination de J. *Neumeier à la direction du Ballet en 1973 entraîne un renouveau : il réorganise complètement la compagnie, la rebaptise Hamburg Ballett et la conduit vers le succès international. Il crée aussi une École de danse associée à la compagnie en 1978 (la deuxième de ce genre en Allemagne après celle de *Stuttgart), dirigée notamment par Marianne Kruuse et Truman Finney, dont sort une nouvelle génération de danseurs. L'École est hébergée depuis 1989 par le Centre chorégraphique de Hambourg John Neumeier, qui est également le quartier général de la compagnie, l'Opéra restant toutefois le lieu des représentations.
PB
Bibliographie. R. Maack, Tanz im Hamburg, Christians, Hambourg, 1975 ; M. Brauneck, Theaterstadt Hamburg, Rowohlt, Reinbek bei Hamburg, 1989.
Julyen HAMILTON (né en 1954).
Danseur, chorégraphe et pédagogue britannique.
Il est l'un des principaux artisans du renouveau du *contact-improvisation en Europe. De Londres, il s'installe d'abord à Amsterdam, puis en Catalogne, et se produit dans toute l'Europe, en solo ou en collaboration avec S. *Paxton, K. *Duck, et avec M. *Tompkins dans la série la Plaque tournante. Toujours improvisés, ses spectacles reposent sur la " composition instantanée ".
JMA
Razah HAMMADI (né en 1955).
Danseur et chorégraphe français.
D'origine algérienne, il commence la danse *jazz à dix-sept ans avec M. *Mattox, puis débute comme soliste dans sa compagnie et l'assiste de 1979 à 1983. Directeur artistique du Ballet Jazz Art, il s'attache à créer un répertoire varié en accueillant divers chorégraphes, dont R. *North et Mattox. Il signe plusieurs ballets, notamment Influence (1986), Para Bongo (1995), Mozaïque (1996). Chorégraphe international, il se consacre également à l'enseignement et crée sa propre école à Paris en 1996. Son choix éclectique de musiques (africaines, orientales, jazz) et son mélange des techniques (jazz, classique, folklore) caractérisent un style tourné vers une expressivité pluriculturelle.
ESe
Oscar HAMMERSTEIN I (1847-1919).
Producteur, compositeur, librettiste américain.
Père d'Arthur Hammerstein (spécialiste de l'opérette) et grand-père d'Oscar Hammerstein II (librettiste partenaire de R. *Rodgers), il représente l'une des figures centrales de la scène américaine du début du XXe siècle. Il écrit paroles et musiques, met en scène des *vaudevilles, se fait l'imprésario de troupes d'opéra et bâtit des théâtres à New York; son ambition en faisant construire le Manhattan Opera House est de rivaliser avec le Metropolitan Opera. Ses théâtres de vaudevilles se singularisent par un théâtre-jardin, bâti sur le toit, qui comprend ferme, rivière, moulin et scène. Conventionnel dans ses comédies musicales, il est innovateur dans le choix de ses numéros de vaudeville et dans le style des spectacles qu'il propose pour ses " roof gardens ". Si G. M. *Cohan était " l'homme qui possédait Broadway " , Hammerstein est celui qui " a inventé Time Square " et en a fait le centre de la vie théâtrale américaine.
ESe
HAMMERSTEIN OSCAR II, [Oscar Greelay Glendenning H., dit ] (1895-1960).
Librettiste américain.
Après des études de droit, il se consacre définitivement à l'écriture de lyrics et de livrets de spectacles musicaux. Sa carrière peut s'articuler en trois périodes. Pendant la première, il travaille dans un esprit de classicisme et de fidélité à une tradition d'opérette, en collaboration avec Sigmund Rombergb et Rudolf Friml (Rose Marie, 1924 ; The Desert Song, 1926). Puis, dès 1927, aux côtés de J. *Kern, il expérimente des formes nouvelles et contribue au développement du spectacle musical (Show Boat). Enfin, en collaboration avec R. *Rodgers, il donne forme aux fondements de la *comédie musicale contemporaine : *Oklahoma (1943), *Carousel (1945), South Pacific (1949), The King and I (1951) et The Sound of Music (1959), leur dernier spectacle commun avant son décès. Situant le livret sur un plan poétique, mais proche de la quotidienneté américaine, son œuvre s'impose comme celle d'un homme qui a pris au sérieux le théâtre musical.
ESe
Carol HANEY, [H. Carolyn, dite ] (1924-1964).
Danseuse et chorégraphe américaine.
Elle se rend à *Hollywood en 1940 pour parfaire sa formation de danseuse avec E. *Belcher et elle intègre le groupe de J. *Cole. Elle débute à *Broadway en 1945 dans Watch Out Angel, puis sous contrat avec la *MGM (1950-1957). Elle tourne dans plusieurs films et assiste tour à tour J. Cole et G. *Kelly (Invitation à la danse, 1954, Brigadoon, 1954). Partenaire de B. *Fosse dans *Kiss Me Kate (1953), elle part à New York travailler avec lui dans *Pajama Game (1954), prestation qui lui vaut un Tony Award. Nouvelle étoile de Broadway, elle apparaît dans de nombreux spectacles de variétés télévisées dont elle crée le plus souvent les chorégraphies.
À Broadway, elle chorégraphie cinq comédies musicales, dont quatre grands succès : Flower Drum Song (1958), Bravo Giovanni (1962), She Loves Me (1963), Jennie (1963), et Funny Girl (1964, chor. achevée à sa mort par Larry Fuller) .
Elle est la seule danseuse et chorégraphe qui ait collaboré de façon importante avec trois des plus grands chorégraphes de comédies musicales du XXe siècle. Son style personnel fait alterner mouvements angulaires basés sur l'isolation et grands développés fluides. Repris par d'autres chorégraphes, il lui a survécu.
ESe
Erika HANKA (1905-1958).
Danseuse, maîtresse de ballet et chorégraphe autrichienne.
Elle étudie la danse *moderne auprès de G. *Bodenwieser à l'Académie des beaux-arts et de musique de Vienne et auprès de Karin Schneider à Graz, ainsi que la danse *classique avec Irmgard Thomas à Vienne. Elle débute sur scène à Graz en 1927 au cours d'une soirée de danse où se produit aussi Fritz Kaiserfeld. Danseuse et assistante du directeur du ballet à l'Opéra de *Düsseldorf (1929-1935), elle poursuit sa carrière d'interprète aux Ballets *Jooss en Grande-Bretagne (1935-1938), avant de devenir chorégraphe et directrice du ballet de l'Opéra d'Essen (1939-1940), puis de *Hambourg (1940-1942) et enfin de *Vienne de 1942 jusqu'à sa mort.
Engagée à l'origine dans la danse *expressionniste, elle évolue vers le ballet, se conformant aux changements esthétiques qui résultent de la Seconde Guerre mondiale. Intégrant le langage classique, elle développe un style qui met en jeu la personnalité par une caractérisation approfondie des rôles. Elle travaille souvent avec les compositeurs d'avant-garde et ses créations sont la plupart du temps inspirées de thèmes littéraires. Par ailleurs, elle défend le répertoire classique et celui des *Ballets Russes.
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