Autres chorégraphies. Death and the Maiden (1937) ; Lady into Fox (1939) ; le Festin de l'araignée (1944) ; Carnival of Animals (1943) ; The Sailor's Return (1947) ; A Mirror for Witches (1952) ; la Belle Dame sans merci (1958). Bibliographie. K. Sorley Walker, " The Choreographies of Andrée Howard ", Dance Chronicle, vol. 15/1, New York, 1992.
Dulcie HOWES (1908-1996).
Chorégraphe, pédagogue et directrice artistique sud-africaine.
Elle se forme auprès de Helen Webb au Cap, puis de M. *Craske et de T. *Karsavina à Londres, en 1925. Elle intègre la compagnie d'A. *Pavlova en 1927. De retour en Afrique du sud en 1928, elle fonde l'*UCT Ballet School en 1934 et constitue aussitôt, avec des élèves de l'école (dont D. *Poole, J. *Cranko et J. *Mosaval), l'UCT Ballet Company, qui deviendra compagnie professionnelle en 1965, sous le nom de *CAPAB Ballet. Auteur d'une trentaine de ballets, elle se retire en 1969, conservant son poste de directrice de l'UCT Ballet School jusqu'en 1972. En 1976, elle est nommée docteur honoris causa en musique de l'université du Cap.
RS
Dore HOYER (1911-1967).
Danseuse, chorégraphe et pédagogue allemande.
D'origine modeste, son destin tragique se forge dans un combat incessant pour la survie artistique et matérielle. Elle se forme à Dresde selon la méthode *Jaques-Dalcroze puis avec G. *Palucca. Débutant ses programmes solo dès 1933, elle est engagée dans la compagnie de M. *Wigman et rencontre, en 1936, le compositeur Dimitri Wiatowitsch, qui devient son fidèle collaborateur. De 1940 à 1944, elle danse avec R. *Chladek et T. *Gsovska et tourne ses solos dans des conditions rendues très dures par la guerre. En 1945, dans Dresde anéantie par les bombes, elle reprend à son nom l'école de Wigman et crée des œuvres de groupe, dont Tänze für Käthe Kollwitz (1946). Dans le réalisme socialiste ambiant, sa danse détonne et elle quitte Dresde pour l'Opéra de *Hambourg qui l'accueille temporairement. Prix de la critique en 1951, elle fait la première de ses nombreuses tournées en Amérique du Sud en 1952 et compose Südamerikanische Reise, puis crée pour divers théâtres, danse avec H. *Kreutzberg, présente ses soli aux États-Unis et interprète le rôle de l'Élue dans le *Sacre du Printemps de Wigman (1957). Avant-gardiste, sa danse est assimilée à l'*Ausdrukstanz et les contrats se font rares. En 1960, elle accepte l'offre du gouvernement argentin de fonder une troupe à La Plata et y crée des pièces dont le succès fabuleux, même au très traditionnel *Teatro Colon de Buenos Aires, ne peut empêcher la fin du projet, faute de moyens, en 1962. De retour en Europe, sa situation financière se dégrade et ses douleurs de genoux deviennent chroniques. Elle crée *Afectos humanos (1962) et reçoit à nouveau le prix de la Critique, mais les parterres restent vides. Trop individualiste pour les nazis, trop abstraite pour l'Est, trop épurée pour l'Ouest, sa danse qui, comme nulle autre, révèle l'invisible, se fait le reflet critique de nos sociétés dans Vietnam (1967), l'un de ses derniers solos. Elle se suicide peu avant le Nouvel An 1968 avec un poison rapporté d'Amérique du Sud.
Soliste inégalée, elle recevra l'hommage postume d'I. *Sciachieri et S. *Linke qui aborderons ce dépassement de soi auquel Hoyer se vouait corps et âme.
MIB
Bibliographie. Müller / Peter, D. Hoyer - Tänzerin. Eine Dokumentation, Ed. Hentrich, Berlin (1992).
Cristina HOYOS (née en 19xx).
Danseuse et chorégraphe espagnole.
Née à Séville, elle commence à danser à douze ans et devient professionnelle à seize ans. Remarquée par A. *Gades dans un tablao madrilène, elle est sa principale partenaire de 1974 à 1988, notamment dans *Noces de sang, *Carmen et l'*Amour sorcier. Elle crée ensuite sa propre compagnie. D'un caractère conforme à l'aridité andalouse, silhouette cambrée jusqu'à l'outrance, C. Hoyos s'inscrit dans la lignée d'un *flamenco stylisé.
JMA
Nikolaj HÜBBE (né en 1967).
Danseur danois.
Élève de l'École du *Ballet royal danois, il est promu danseur principal de la compagnie en 1988. En 1992, il quitte Copenhague pour rejoindre le *New York City Ballet (NYCB) également comme danseur principal. Il est l'un des danseurs danois les plus talentueux de sa génération. Son répertoire embrasse un large éventail, des rôles bournonvilliens comme le James pathétique de la *Sylphide ou l'insouciant Frank Gennaro de *Napoli à ceux de héros ou de princes du répertoire classique, comme le vulnérable Albrecht de *Giselle ou Roméo, l'éternel amoureux de Juliette. Cette aisance a conduit plusieurs chorégraphes à créer des rôles spécialement pour lui dont Struensee dans Caroline Mathilde de F. *Flindt (1991). Son intégration au NYCB lui permet de déployer et de renforcer sa forte dynamique et sa grande musicalité que ce soit dans le répertoire de G. *Balanchine ou les créations de P. *Martins.
AMC
Jean HUGO (1894-1983).
Peintre et décorateur français.
Arrière-petit-fils de Victor Hugo, il se fait connaître par ses illustrations et ses mises en scène des œuvres de son aïeul. En 1921, il conçoit les masques des *Mariés de la tour Eiffel. Tenant d'un certain romantisme, il fait toutefois un usage original du *maillot collant, notamment dans *Roméo et Juliette (1924, Soirées de Paris), où le fond de scène et les collants des danseurs sont noirs, tandis que quelques légers traits de couleur précisent les contours des silhouettes et que de larges collerettes blanches encadrent les visages. Il reprendra différemment ce principe de dénudement quelque peu provocateur dans les Amours de Jupiter (1946, R. *Petit).
CD, PLM
Autre collaboration. B. *Nijinska (les Cent Baisers, 1935).
Valentine HUGO, [ndn. GROSS V. ] (1887-1968).
Peintre et décoratrice française.
Elle épouse J. *Hugo en 1919, avec qui elle réalise les masques des *Mariés de la tour Eiffel (1921). Elle collabore à quelques opéras et ballets (Vogue, 1924, Soirées de Paris ; Quadrille, 1946, Roger Fenonjois), signant des décors harmonieux qui dénotent un goût de l'étrange et du maniérisme. Paul Eluard dira d'elle que ses doigts « perçoivent l'inconnu sous la forme amie du connu ».
CD
Félicité-Virginie Hullin-Sor (1803-v. 1860).
Danseuse, chorégraphe et pédagogue française.
Issue d'une dynastie de danseurs, elle débute probablement avec son père Jean-Baptiste Hullin, directeur du théâtre de la Gaîté où fonctionne un ballet d'enfants. Elle est aussi l'élève de J-F. *Coulon et ,sans doute, d'A. *Albert. Invitée à Moscou en 1823, elle y travaille comme danseuse (jusqu'en 1835), chorégraphe (jusqu'en 1838) et pédagogue. Avec son arrivée, le ballet moscovite subit une importante réorientation : l'enseignement passe du style italien au style français, le répertoire de la reprise des ballets donnés à *Saint-Pétersbourg à celle de ballets composés à Paris comme les Noces de Gamache (probablement d'après L-J. *Milon), Cendrillon (1824, d'après Albert) sur une musique de son mari Ferdinand Sor, la *Sylphide (1834, d'après Ph. *Taglioni), etc. En même temps, elle étudie la danse russe et monte des ballets sur des musiques de compositeurs russes comme les Amusements du Sultan ou le Vendeur d'esclaves (1834, mus. Alexandre Varlamov). Beaucoup de danseuses du *Bolchoï ont été ses élèves, la plus célèbre étant E. *Sankovskaïa.
ESou
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