Son œuvre entière est marquée par sa rébellion profonde contre tout système d'oppression, qu'il soit militaire dans Kriegsanlaitung für jedermann (1970), familial dans Familiendialog (1980) ou social dans Ulrike Meinhof und Wir (1990): Il laisse exploser sa rage sans concession pour que la révolte déborde la scène et s'installe chez le spectateur. Représentant le plus coriace de ce qu'il appelle la " danse combative ", il tombe parfois dans son propre piège faisant du spectateur un otage des violences que subissent les danseurs. Il est pourtant le seul à avouer, à crier, en Allemagne, la lourdeur du fardeau insoutenable que porte sa génération : comment réconcilier honneur perdu et conscience d'une faute innommable ? Héritage contradictoire dont la violence l'a marqué à jamais lors de l'assassinat de son père soldat, par des partisans slovaques.
MIB
Autres chorégraphies. Mörder Woyzek (1987) ; *Macbeth (1988).
Harald KREUTZBERG (1902-1968).
Danseur, chorégraphe et pédagogue allemand.
Après des débuts sur scène à l'âge de 6 ans, il suit des cours de dessinateur de mode à Dresde puis, dès 1921, il étudie avec M. *Wigman. Engagé par M. *Terpis à Hanovre, puis à l'Opéra de *Berlin en 1924, pour assumer un rôle de fou il se rase le crâne, signe distinctif qu'il garde toute sa vie. En 1926, il rencontre M. *Reinhardt qui l'engage comme soliste et débute ses créations personnelles avec le compositeur F. *Wilckens, son futur conseiller artistique. D'abord avec Y. *Georgi, puis avec R. *Page, il effectue dès 1927 de nombreuses tournées, suscitant des vocations aux quatre coins du monde dont celles de J. *Limon, E. *Hawkins, K. *Ohno. En 1936, il participe à la cérémonie d'ouverture des Jeux Olympiques et, jusqu'en 1944, aux tournées du Ministère de la Propagande, ce qui ne l'empêche pas de jouer dans le film Paracelsus (1942) de Pabst déprécié par les nazis. Excellent pédagogue, il fonde avec Hilde Baumann une école à Berne (Suisse) en 1955. Prix de la Critique en 1952, il danse pour la dernière fois en 1965, à Chicago, dans une mise en scène de Page et reçoit la Croix du Mérite en 1968. Son talent de danseur s'enrichit d'une recherche sur les accessoires et costumes qu'il dessine lui-même. Personnage mythifié, il est surtout un danseur hors pair voulant vivre son art même au cœur des années les plus noires de l'Europe.
MIB
Bibliographie. F-M. Peter, H. Kreutzberg, Ed. Hentrich, Berlin (1995). Filmographie. Der Ewige Kreis (réal. H. Seggelke, 1952) ; Kreutzberg, tänzer u. Tanzpo't (réal. U. Tegeder).
Rodolphe Kreutzer (1766-1831).
Violoniste et compositeur français.
Fils de musicien, il commence très jeune à étudier le violon et bientôt, aussi, la composition. En 1785, il entre en service à la cour de Versailles. Après la Révolution, il commence à enseigner au Conservatoire de Paris, qui vient d'être créé. Reconnu comme un des plus grands pédagogues de l'histoire du violon, il compose également des ballets pour J.-P.* Aumer, dont les Amours d'Antoine et Cléopâtre (1808), pour P. *Gardel, dont *Paul et Virginie (1806) et la Servante justifiée (1818), et pour L. J. *Milon (le *Carnaval de Venise, 1815 ; Clari ou la Promesse de mariage, 1820).
SZ
Victorina Krieger (1893-1978).
Danseuse russe.
Elle étudie à l'École de danse de *Moscou, puis danse au *Bolchoï de 1910 à 1949 dans des rôles exigeant virtuosité et tempérament (*Don Quichotte), avant d'aborder à la fin de sa carrière des rôles mimés (la Fée Carabosse, la Marâtre dans *Cendrillon). En 1929, elle fonde, et dirige jusqu'en 1932, une compagnie, le Ballet artistique de Moscou, qui sera intégrée en 1939 au Théâtre musical Nemirovitch-Dantchenko puis en 1941 au Théâtre musical *Stanislavski et Nemirovitch-Dantchenko. Auteur de mémoires publiés en 1930, elle dirige le musée du Bolchoï de 1955 à 1963.
ESou
John KRIZA (1919-1975).
Danseur américain.
Élève de la célèbre école *Stone-Camryn à Chicago, sa ville natale, il se produit deux années avec R. *Page avant d'intégrer le *Ballet Theatre en 1940 où il danse jusqu'en 1966, tout en se produisant également à *Broadway. Il travaille ensuite comme pédagogue et répétiteur jusqu'à sa mort
Remarqué par sa création du rôle d'un des trois marins de *Fancy Free (1944, J. *Robbins), il participe en 1945 à celles d'*Interplay (Robbins) et de On Stage ! (M. *Kidd). Créateur de nombreux rôles au cours de sa carrière, c'est toutefois dans le rôle titre de *Billy the Kid et celui qu'il crée dans *Fall River (1948) d'A. *De Mille que sont utilisés au mieux son sens dramatique et son style classique américain, qualités qui lui permettent d'aborder un répertoire particulièrement varié.
MK
Heinrich KRÖLLER (1880-1930).
Danseur et chorégraphe allemand.
Élève de la classe de ballet de l'Opéra de *Munich, puis auprès de C. *Zambelli et L. *Staats à Paris, il est engagé comme premier danseur à Dresde, puis à Francfort, où ses chorégraphies attirent l'attention. À partir de 1917, il retourne à Munich en tant que maître de ballet et rencontre un certain succès avec des ballets modernes tels que le Prince de bois (mus. B. *Bartók), Mammon (mus. E? ? ? ? Kÿrenek) et Wolkenkratzer (mus. J. A. ? ? ? ? ? Carpenter). En 1921, il monte à l'Opéra de *Berlin la première version allemande de la Légende de *Joseph. Maître de ballet à l'Opéra de *Vienne (1922-1928), il y crée de nombreuses œuvres, dont Couperin-Suite (1923) et Schlagobers (1924) de R. *Strauss. Les années suivantes, il est à plusieurs reprises invité à chorégraphier pour la *Scala (Casanova, 1928), pour les Opéras de Prague et de Copenhague, avant de mettre fin à ses jours en 1930. À une époque où l'intérêt du public est plus porté vers les ballets de S. de *Diaghilev et la danse *expressionniste, Kröller, bien qu'ouvert au courant moderne, appuie son travail sur une solide tradition de ballet classique.
PB
Henning KRONSTAM (1934-1995).
Danseur, pédagogue et directeur de ballet danois.
Formé à l'École du *Ballet royal danois, il fait toute sa carrière dans la compagnie, comme danseur principal à partir de 1956, puis comme professeur et *maître de ballet et enfin comme directeur (1979-1985). Il se révèle en 1955 en créant un Roméo rêveur et sensible pour F. *Ashton. Son sens du style et son aisance technique font merveille dans le rôle-titre d'*Apollon Musagète (G. *Balanchine), son lyrisme s'incarne naturellement dans le Poète de la *Somambule Balanchine tandis qu'il est l'interprète idéal du romantique James de la *Sylphide de A. *Bournonville. Les danseurs danois doivent beaucoup à son enseignement et ses reprises d'œuvres de Bournonville ou de I. *Neumeier ont contribué au rayonnement de la compagnie. Il est l'organisateur du premier Festival Bournonville à Copenhague en 1979. Le film Giselle (1990, réal. Anne Wivel, Statens Filmcentral, Copenhague) le présente en train de diriger des répétitions lors d'une reprise de ce ballet.
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