Antoine HOUDAR de LA MOTTE, ou [LA MOTTE-HOUDAR A. de ] (1672-1731). (suite)
Élu en 1710 à l'Académie française, il est le destinataire de la célèbre Lettre de 1727 où J.-Ph. *Rameau expose ses conceptions lyriques. Sa version de l'Iliade déclenche, en 1713, un épisode de la Querelle des Anciens et des Modernes, dans laquelle il se range aux côtés de ces derniers. Dans ses Réflexions sur la critique (Paris, 1716), il précise la théorie de l'imitation de la nature (voir *mimésis) et définit la poésie comme « l'art qui, par le discours en vers, imite la nature avec choix et avec un dessein sensible de donner certaines idées ou d'exciter certains sentiments ». Ses quatre Discours sur la tragédie (17XX) forment une théorie poétique du théâtre, tant dramatique que lyrique. La partie la plus connue est la critique des unités (lieu et temps) et de la versification, qui lui attire la réprobation de Voltaire. Il distingue dans le théâtre plusieurs niveaux de régularité : les règles arbitraires (unités de temps et de lieu, versification) et les principes fondamentaux (vraisemblance, nécessité, unité d'action et d'intérêt). Il recourt fréquemment à des comparaisons entre scène dramatique et scène lyrique, traitant l'opéra français comme un modèle poétique de même valeur que le théâtre dramatique, dans lequel la danse contribue à une esthétique de l'image où montrer a autant d'importance que dire.
CK
Bibliographie. A. de La Motte Houdar, uvres (10 vol.), Prault l'aîné, Paris, 1754 ; rééd. Slatkine, Genève, 1970. - P. Dupont, Un poète philosophe au commencement du XVIIIe siècle : Houdar de La Motte, Hachette, Paris, 1898 ; rééd. Slatkine, Genève, 1971.
Houston Ballet.
Compagnie américaine basée à Houston (Texas).
Il trouve son origine dans la Houston Ballet Academy créée en 1955 par la Houston Foundation for Ballet. En 1967, Nina Popova, une ancienne danseuse du *Ballet russe de Monte-Carlo, est nommée directrice artistique; le Houston Ballet fait alors ses véritables débuts de compagnie indépendante. En 1975, l'Américain James Clouser lui succède brièvement, mais ce n'est qu'avec l'arrivée à sa tête du britannique Ben Stevenson en 1977 que la compagnie prend son essor. L'effectif passe de 28 à 55 interprètes, les contrats des danseurs de 32 à 44 semaines par an, et le budget est décuplé.
Ancien assistant de R. *Page à Chicago, connu pour ses productions de grands ballets du répertoire, notamment sa version de *Cendrillon, Stevenson monte pour la compagnie *Casse-Noisette, le *Lac des cygnes, la *Belle au bois dormant, *Coppélia, ainsi que ses propres créations. Il enrichit également le répertoire d'œuvres de chorégraphes britanniques - F. *Ashton, K. *MacMillan, J. *Cranko, Ch. *Bruce, P. *Wright, R. *Hynd - et américains - J. *Robbins, J. *Butler, P. *Taylor, G. *Tetley. Disposant de son propre lieu, l'école constitue un excellent vivier pour la compagnie, qui exprime sur une base classique un esprit américain du mouvement.
MK
Alan HOVHANESS (né en 1911)
Compositeur américain d'origine arménienne et écossaise.
Composant dès sa prime enfance, il se passionne déjà pour le mysticisme et la méditation. Ses premières œuvres, inspirées par la musique de la Renaissance, n'ont que peu d'écho, avant qu'il ne se tourne vers le folklore de ses origines arméniennes. Ses œuvres (dont 63 symphonies), surtout monodiques, modales et consonantes, bien qu'instrumentales, sont toujours porteuses d'un message spirituel. Suite à un voyage au Japon en 1959 rendu possible par une bourse de la fondation Fullbright, il leur intègre des éléments de tala indienne, et de nô japonais.
Proche, par ses préoccupations spirituelles et extrême-orientales, d'autres figures new-yorkaises comme J. *Cage et L. *Harrison, il compose la musique d'un des premiers solos de M. *Cunningham (Invocation to Vahkan, 1946). En 1954, il signe son premier grand ballet, Ardent Song, chorégraphié par M. *Graham pour qui il composera aussi Circe (1963) et Myth of a Voyage (1973), collaborant aussi avec des élèves de celle-ci : K. *Yuriko, P. *Lang, R. *Cohan, J. *Erdmann. Deux chorégraphies d'A. *Nikolais intègrent également des musiques de Hovhaness : Mask, Props and Mobiles (1953) et Prism (1956).
BT
Lucas HOVING, [HOVINGA Lukas, dit ] (né en 1912).
Danseur, chorégraphe et pédagogue américain d'origine néerlandaise.
Il étudie avec Y. *Georgi, et ensuite en Grande-Bretagne avec K.*Jooss (1938-1939), dont il intègre la compagnie qui part en tournée aux États-Unis, où il reste et danse avec A. *De Mille, M. *Graham et V. *Bettis. Interprète emblématique de J. *Limón (1949-1963), il crée des rôles, entre autres, dans The *Moor's Pavane (1949), The *Traitor (1954), The *Emperor Jones (1956), mais aussi dans Night Spell (1951), et Ruins and Visions (1953) de D. *Humphrey. Il fonde sa compagnie (1961-1974) et crée notamment Icarus (1964). Directeur de l'Académie de danse de Rotterdam (1971-1978), il devient aussi codirecteur artistique de la compagnie Limón. En 1984 il danse Growing Up in Public, solo autobiographique conçu pour lui par R. *Charlip.
Qualifié par Limón d'interprète « marquant », qui donne sur scène le meilleur de lui-même, il opère dans les pièces de celui-ci comme une force « antagoniste », autant par son physique que par sa qualité de mouvement, complémentaires à ceux de Limón.
MDS
Autres chorégraphies. Wall of Silence (1960) ; Zip Code (1971). Bibliographie. D. Dobbels, « Entretien avec L. Hoving », Nouvelles de danse n° 24, été 1995.
Andrée HOWARD (1910-1968).
Danseuse, chorégraphe et décoratrice britannique.
Elle se forme avec M. *Rambert, L. *Egorova, O. *Preobrajenska et V. *Trefilova. Elle fonde le Ballet Club à Londres), pour lequel elle crée ses premières œuvres dont elle signe souvent les décors, puis rejoint brièvement les *Ballets russes du colonel de Basil en 1933. Elle chorégraphie pour le *Ballet Rambert (1935-1939 et 1943-1947) et pour de nombreuses compagnies (dont le Ballet Theatre, États-Unis) ainsi que pour le cinéma. Pendant les dernières années de sa vie, elle est surtout active en Turquie, au Ballet national notamment, et s'adonne à la peinture.
Douée pour créer une intensité d'émotion en jouant d'un mouvement légèrement retenu, avec une sensibilité musicale et poétique, elle utilise souvent des sources littéraires comme pour sa pièce la plus célèbre, la Fête étrange (1940, liv. R. Crichton d'après un épisode du Grand Meaulnes d'Alain-Fournier, mus. *Fauré, London Fest. B. ; rep. 1940, Ballet Rambert ; 1957, *Royal B. ; 1971, *Scottish Th. B.).
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