Autres chorégraphies. Der Turn (1969) ; Suite for Young Dancers (1958) ; Voice Over (1972) ; Bolder and Bolder (1975). Bibliographie. S. Hodes, « Videamos », in W. Sorell, The Dance Has Many Faces, éd., lieu, 19XX.
Millicent HODSON (né en 1945).
Historienne de la danse et chorégraphe américaine.
Diplômée en littérature de la Berkeley University (Californie) où elle étudie également la danse (méthode *Cecchetti, techniques *Graham, *Cunningham, *Nikolaïs), elle entame un travail de recherche sur S. *Diaghilev et commence à s'intéresser aux chefs-d'œuvre oubliés du patrimoine chorégraphique du xxe siècle. Avec Kenneth Archer, historien d'art et conseiller artistique pour le théâtre anglais, elle reconstruit patiemment la version originale du *Sacre du printemps de V. *Nijinski à laquelle le *Joffrey Ballet redonne vie en 1987 (version entrée au répertoire du Ballet de l'Opéra de *Paris en 1991). Ensemble, ils ressuscitent également le *Till Eulenspiegel de Nijinski (1994, Opéra de Paris). Alliant intuition et recherche à une rare intelligence chorégraphique, M. Hodson s'affirme comme une des grandes spécialistes de la reconstruction de ballets, signant notamment celles de *Cotillon (1988), la Chatte (1991) et le *Chant du rossignol (1988) de G. *Balanchine et de solos d'I. *Duncan pour C. *Fracci (1990-1999).
MP
Ernst Theodor Whilhelm Amadeus Hoffmann (1776-1822).
Écrivain et compositeur allemand.
Ses contes fantastiques très sombres, publiés essentiellement entre 1816 et 1821, fascinent l'Europe romantique. C. *Nuitter tire le livret de *Coppélia de la Fille aux yeux d'émail et M. *Petipa s'inspire pour *Casse-Noisette de l'adaptation française très édulcorée qu'Alexandre Dumas a faite de l'Histoire d'un Casse-noisette. J. *Offenbach crée l'opéra les Contes d'Hoffmann en 1881, souvent repris sous forme de ballet (1950, M. *Luipart ; 1951, film, chor. L. *Massine et *Ashton ; 1951, K. *Jooss, 1961, M. *Béjart ; 1972, P. *Darell). Si les ouvrages créés au XIXe s. ne gardent que l'enchantement enfantin des contes, occultant leur noirceur désespérée, les chorégraphes d'aujourd'hui en présentent des relectures marquées par la psychanalyse, plus fidèles que les premières versions à l'esprit de l'écrivain.
SJM
Reinhild HOFFMANN (née en 1943).
Danseuse et chorégraphe allemande.
Elle étudie la danse à Kalrsruhe puis, de 1965 à 1970, suit la formation pédagogique de l'École Folkwang d'*Essen, alors dirigée par K. *Jooss qui lui donne ses premiers rôles sur scène. De 1970 à 1973, elle danse sous la direction de H. *Kresnik au Tanztheater de Brême, puis revient à Essen où une bourse de recherches chorégraphiques lui est attribuée. En 1975, elle devient codirectrice, avec S. *Linke, du nouveau FTS *Essen et crée Trio, Duett et Fin al Punto œuvre énigmatique, à la tension extrême, primée au Concours de *Cologne en 1976, ainsi que Rouge et noir, primée l'année suivante à *Bagnolet. Elle obtient une bourse d'études et se perfectionne aux États Unis avec M. *Cunningham, M. *Monk et A. *Nikolaïs, puis crée Chimära (1978) pour le *Tanzforum Köln, affirmant son goût des objets mouvants et des tableaux oniriques. Mais la vraie révélation vient lors du Fest. de Nancy, où elle enchante la critique avec *Solo mit Sofa (1977).
En 1978, elle est nommée codirectrice, avec G. *Bohner, du nouvel ensemble de Tanztheater au Th. Concordia à Brême. Elle y crée des pièces à la force visuelle grandissante telles Unkrautgarten (1982) ou *Könige und Königinnen (1982). Sa grande rigueur esthétique, sa gestuelle stylisée à l'extrême, sont les voies d'accès à un monde imaginaire où les tableaux se succèdent dans les espaces épurés que crée pour elle le scénographe Johannes Schütz. Après le départ de Bohner en 1981, elle dirige seule le Ballet de Brême et débute la phase la plus lyrique de sa production avec Callas (1983). En 1986, elle assume la direction d'un nouveau projet au Th. de Bochum basé sur la collaboration de metteurs en scène et de chorégraphes mais le projet se heurte à la rigidité d'esprit du théâtre institutionnel allemand et échoue en 1995. Indépendante, elle poursuit à Berlin ses créations à l'esthétique captivante, dont le solo Vor Ort (1997), un dialogue réussi entre danse et film.
MIB
Autres chorégraphies: Dido und Äneas (1984, mus : H. *Purcell ; Zeche II (1996). Filmographie: R. Hoffmann, S.Linke, Tanztheater. (réal. U. Tegeder).
Hugo von HOFFMANNSTAHL (1874-1929).
Poète et essayiste autrichien.
Né à Vienne, il connaît très jeune une célébrité que ses poèmes et ses pièces de théâtre lui octroient si intensément, qu'elle suscitera chez lui une crise d'expression comparable à celle vécue par Rimbaud ou *Mallarmé. Après le texte dit Lettre à Lord Chandos (1902) qui en constitue le sommet, il décide de rompre avec une écriture trop brillante et de se taire, rêvant de parler " la langue des choses muettes ". Librettiste de R. *Strauss (Elektra, le Chevalier à la rose, Ariane à Naxos, la Femme sans ombre), il conçoit aussi une *pantomime pour les *Ballets russes : la *Légende de Joseph (1912). Ses deux essais sur V. *Nijinsky (date) et sur R. *Saint Denis (date) sont d'une lucidité et d'une luminosité rares quant au sens que leurs danses laissent affleurer, concentrent et déployent jusqu'à en devenir de pures " énigmes poétiques ". Comme Rilke ou *Rodin, il perçoit que la danse est cette langue des choses muettes où " l'unicité est la loi ", où rien ne doit se répéter ni rien être accessoire.
DD
Ernest HOGAN, [Crowders Reuben, dit ] (1850-1909).
Danseur et comédien américain.
Après avoir changé de nom pour profiter de la popularité des comédiens irlandais, il débute dans les *minstrels shows. Il va connaître le succès en créant le pasmala (1895), l'une des premières danses à combiner des pas vernaculaires noirs avec les danses de *société de l'époque. Tête de file des danseurs comédiens qui se produisent dans les spectacles ambulants et les premières comédies musicales noires, il paraît dans Smart Set, travaille avec les Black Patti's Troubadours et atteint la gloire en 1898 dans Clorindy - The Origin of the Cakewalk. Danseur excentrique, réputé pour ses excellentes imitations du crabe ou du poisson, ses effets comiques ne dépendent pas de la caricature créée par l'usage du maquillage blackface, mais de son visage mobile, capable d'expressions souvent irrésistibles. Il est considéré comme l'un des meilleurs danseurs comédiens de cette époque.
ESe
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