Allegra KENT, [COHEN Iris, dite ] (née en 1937). (suite)
Outre ses créations de rôles, Kent est surtout connue pour ses interprétations de la *Somnambule, les *Sept Péchés capitaux, Bugaku, *Afternoon of a Faun et du deuxième mouvement de *Symphony in C. Sa danse semble régie par les lois d'un autre monde : ses qualités exceptionnelles d'extension et de souplesse dans le travail d'*adage trouvent des conditions idéales d'expression dans les chorégraphies de Balanchine qui sait merveilleusement mettre en valeur sa libre personnalité.
MK
Bibliographie. A. Kent, Once a Dancer : An Autobiography, éditeur, New York, 1997.
Tom KEOGH (1921-1980).
Décorateur et costumier américain.
Dessinateur de mode, notamment à Vogue, il attire l'attention des milieux du spectacle après la guerre. Il met son style très coloré et truculent au service d'A. *Milloss (Portrait de Don Quichotte, 1947), J. *Babilée (Till Eulenspiegel, 1949 ; Balance à trois, 1955), J. *Charrat (le Dernier Jugement, 1951) et R. *Petit (les Belles Damnées, 1955 ; la Fille aux yeux secs, 1956).
GM
Geneviève KERGRIST (née en 1916).
Danseuse française.
Formée à l'École de l'Opéra de *Paris, elle entre dans le Ballet en 1931, et devient grand *sujet en 1934. Elle quitte l'Opéra en 1941, et danse en soliste aux Nouveaux Ballets de *Monte-Carlo (1943), à la compagnie de l'Oiseau bleu (1945) et, à partir de 1946, au Ballet de l'Opéra-Comique de Paris, où elle crée plusieurs ballets de J.-J. *Etchevery, dont la Ballade de la geôle de Reading (1947).
GP, MFB
Jerome KERN (1885-1945)
Compositeur américain.
Initié au piano par sa mère, il parfait sa formation à Heidelberg et Londres. De retour à New York, il ne connaîtra le succès que progressivement, après avoir tourné le dos aux conventions de l'opérette européenne pour créer un genre plus sophistiqué, qui, imité plus tard par G. *Gershwin et R. *Rodgers, est le véritable fondement de la *comédie musicale américaine. Ainsi son plus grand succès, Showboat (1927 ; 1951 film, chor. R. *Alton) est la première comédie musicale à être entrée dans le répertoire d'opéra courant.
Nombre de ses compositions seront immortalisées par le cinéma grâce au concours de F. *Astaire (You Were Never Lovelier, 1933 ; *Roberta , 1935 ; *Swingtime, 1936 ; Ô toi ma charmante, 1942), mais aussi B. *Berkeley (*Lady Be Good, 1941) ou le tandem G. *Kelly-S. *Donen (la Reine de Broadway, 1944). Plus récemment, il a été salué sur un ton nostalgique et humoristique par R. *Petit (Fascinating Rhythm, 1977), J. *Robbins (I'm Old-fashioned, 1983) et T. *Tharp (Everlast, 1989).
BT
Billie KERSANDS (1860-1913).
Danseur et comédien américain.
Il fait partie des premiers artistes afro-américains à se produire après la guerre de Sécession dans la célèbre troupe des Georgia Minstrels organisée en 1965 par C. *Hicks. Très populaire, irrésistiblement comique, bon acrobate et excellent danseur, il a attaché son nom à l'exécution de l'*essence of Virginia, qu'il interprète de façon magistrale sur un tempo très lent, avec une légèreté étonnante pour son poids imposant.
ESe
Silvia KESSELHEIM (née en 1942).
Danseuse allemande.
De formation classique elle est la partenaire de G. *Bohner à l'Opéra de *Berlin puis, complice de ses premières œuvres en 1968, elle reste sa danseuse soliste jusqu'en 1982. Engagée au *Tanztheater deWuppertal, elle prouve son talent de chanteuse dans les Sept Péchés capitaux (chor. P. *Bausch, 1976). Danseuse de l'extrême, corps élancé, elle séduit et captive par la chaleur humaine qu'elle dégage. A l'aise dans les difficultés techniques, elle excelle surtout par sa théâtralité emplie d'intériorité.
MIB
Guillermo KEYS ARENAS (né en 1928).
Danseur et chorégraphe mexicain.
Il débute avec les sœurs *Campobello en 1945, révélant des talents qu'il perfectionne à l'étranger avec J. *Limón, M. *Graham, D. *Humphrey et L. *Horst. Magnifique interprète classique et moderne, en tant que chorégraphe, il conquiert le public et la critique avec El Chueco (1951), où il aborde avec sensibilité la vie urbaine populaire. Créateur éclectique, il fait une incursion avec succès dans la *comédie musicale (Yo, Colon, 1953 ; Orfeo en los infiernos, 1954) et se spécialise dans les chorégraphies pour le théâtre et l'opéra. Depuis 1979, il dirige le festival de Sydney (Australie), qui réunit des groupes ethniques du monde entier.
IC
Autres chorégraphies. Fecundidad (1949) ; La Poreida (1952) ; Mas y Fiestas (1957).
Dominique KHALFOUNI (née en 1951).
Danseuse française.
Élève de l'École de danse de l'Opéra de *Paris, elle entre à seize ans dans le corps de ballet. Nommée *étoile en 1977, elle accède alors aux grands rôles de répertoire mais quitte l'Opéra de Paris en 1980 pour rejoindre le Ballet national de *Marseille, où elle devient l'interprète fétiche de R. *Petit. Dès lors, c'est à Marseille qu'elle fait toute sa carrière d'interprète avant de devenir professeur à l'École nationale supérieure de danse de la ville en 1995.
Son lyrisme l'impose comme la danseuse romantique par excellence (*Giselle ; le *Lac des cygnes). Sa silhouette gracile et l'harmonie de ses *ports de bras inspirent Petit qui la distribue dans tous ses ballets : *Notre-Dame de Paris, *Coppélia, Proust ou les Intermittences du cœur et crée pour elle la Chimère dans la *Symphonie fantastique (1975), le rôle de la princesse dans le Chat botté (1985) et celui de Rosa Frolich dans l'Ange bleu (1985). C'est toutefois la création de Ma Pavlova en 1986 au Liceo de Barcelone qui consacre définitivement son talent.
MP
Aram I. Khatchatourian (1903-1978).
Compositeur russe d'origine arménienne.
Il étudie le violoncelle et la composition à Moscou. Sa musique suscite tout de suite l'enthousiasme du public et le ballet *Gayane (1942, N. *Anissimova), avec le célèbre thème de la « Danse du sabre », lui apporte la notoriété au-delà des frontières soviétiques. Son autre ballet, *Spartacus (1956, L. *Yakobson), a également connu de nombreuses versions, dont celles d'I. *Moïsseïev (1958) et de N. *Grigorovitch (1968). Capable d'intégrer avec raffinement les éléments de la tradition russe de N. *Rimski-Korsakov, A. *Borodine et P. *Tchaïkovski, et de celle de l'Arménie, il reste très fidèle au système tonal, alors que, dans la dimension harmonique, sa musique est souvent dense de dissonances.
EQ
Sur la musique de Khatchatourian. S. *Gaskell (Intermezzo, 1948), L. *Chiriaeff (Caucasienne, 1953), S. *Lifar (le Grand Cirque, 1969), N. *Schmucki (le Prisonnier, 1976 ; Marie Madeleine, 1977).
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