Autres chorégraphies. Danse Macabre (1935, mus. *Saint-Saëns) ; Sailor's Fancy (1935) ; Boléro (1950, mus. *Ravel) ; Storm (1958) ; Die Pforte (1978, mus. XXXXX Alkan). Bibliographie. J. Winearls, Modern Dance, the Jooss-Leeder Method, A. and C. Black, Londres, 1958 ; Grete Müller, Dance in Lines, Drawings by Sigurd Leeder (à paraître).
Elizabeth Leese (1916-1962).
Danseuse, chorégraphe et pédagogue canadienne.
D'ascendance danoise, élevée en Allemagne, elle danse pour T. *Schoop jusqu'en 1937. Émigrée au Canada en 1939, elle s'installe à Montréal en 1944. Elle s'oriente alors progressivement du style *expressionniste vers le classique : son école est la première à enseigner la méthode E. *Cecchetti à Montréal. Chorégraphe de théâtre, membre du collectif Montreal Theatre Ballet (1956-1959), elle travaille aussi pour la radio et la télévision.
IVT
Chorégraphie. Lady from the Sea (1952).
Jorge LEFÈBRE (1938-1990).
Danseur, chorégraphe et directeur de compagnie cubain.
Il travaille avec Fernando et Alicia *Alonso et à New York avec W. *Dollar et M. *Mattox. Il danse chez M. *Graham et vient en Europe avec la compagnie C. *Dunham en 1959. De 1962 à 1973, il danse au *Ballet du XXe siècle, où il crée notamment la IXe Symphonie (1964). Fondateur de *Mudra-Dakar, il dirige ensuite, de 1981 à 1990, le Ballet royal de *Wallonie, auquel il donne un nouveau dynamisme.
GM
Chorégraphies. Invitation au jazz (1967) ; la *Dame aux camélias (1980) ; David Come Home (1984) ; VIIe Symphonie (1985, mus. L. van *Beethoven) ; Nuits d'été (1986) ; Carmina burana (1986) ; Frankenstein (1987).
Brigitte LEFÈVRE (née en1947).
Danseuse et chorégraphe française.
Formée à l'École de danse de l'Opéra de *Paris, elle y danse le grand répertoire dès l'âge de seize ans : M. *Petipa, G. *Balanchine, R. *Petit, M. *Béjart, dont elle est une Élue vibrante du *Sacre du Printemps. Elle participe au Groupe des sept, qui s'est constitué entre certains danseurs de l'Opéra pour développer une recherche chorégraphique et se produire à l'extérieur. Elle s'initie aux techniques A. *Nikolais, M. *Cunningham, P. *Taylor, J. *Russillo, et crée son premier ballet, *Microcosmos (1971), où apparaît sa volonté de " traduire des états différents, faits d'élans et de brisures ". En 1972, elle quitte l'Opéra, avec J. *Garnier : ils fondent le Théâtre du Silence, implanté à La Rochelle en 1974, afin de " créer une danse ouverte sur l'époque moderne ". Superbe interprète de Garnier (Webern op. 10, 1970 ; Léda, 1972), Cunningham (Summerspace, 1976), ou L. *Lubovitch (Avalanche, 1976), elle explore dans ses propres ballets la notion de durée et de temps, sur des musiques contemporaines : T. *Riley pour Un certain temps (1974), Philippe Besombes pour Ceci est cela (1975), Bernard Parmegiani pour Intervalle (1976), J.-P. *Drouet pour Pawa (1978). Lorsque Garnier fonde le *GRCOP en 1981, elle dirige seule la compagnie. Inspecteur de la Danse (1985), et première déléguée à la Danse au ministère de la Culture (1987), elle est nommée directrice adjointe à l'Opéra de Paris en 1994. Elle y est, depuis 1995, directrice de la Danse.
LB
Autres chorégraphies. Instantanément (1977) ; En soi (1980) ; En partant de (1980) ; Vous avez dit bazar ? (1981) ; Carmina Burana (1985). Bibliographie. Danse - l'Expérience de La Rochelle, Rumeur des âges, 1982.
Amélie LEGALLOIS (1801-?) .
Danseuse française.
Inscrite à l'École de danse de l'Opéra de *Paris par son père, entrepreneur en bâtiment, qui espère une vie plus aisée, elle est l'élève de F. *Coulon et débute en 1822. Rivalisant pendant quinze ans avec L. *Noblet, sur scène et au Foyer, elle partage avec elle les rôles que libère en 1823 la retraite d'E. *Bigottini. Si elle danse souvent, elle ne s'impose jamais vraiment.
SJM
Nicolas Legat (1869-1937).
Danseur, chorégraphe et pédagogue russe.
Fils de Gustave Legat (1837-1895), danseur russe d'origine suédoise, et frère de Sergueï Legat (1875-1905), danseur au *Mariinski il est diplômé de l'École théâtrale de *Saint-Pétersbourg. Grâce à son style *noble et sa technique, il se voit confier l'emploi de premier danseur au Mariinski de 1888 à 1914. Partenaire d'A. *Pavlova, M. *Kschessinska, T. *Karsavina entre autres, il danse dans les grands classiques du répertoire : *Giselle, le *Lac les cygnes, la *Belle au bois dormant, *Don Quichotte, *Raymonda, etc. Attaché à l'école et au style *académiques, il n'adhère pas aux réformes de M. *Fokine. Il monte au Mariinski quelques ballets de veine traditionnelle, dont le plus intéressant reste la Fée des poupées (1903, avec S. Legat) ; mais il doit surtout son renom à l'enseignement : professeur à l'École théâtrale de *Saint-Pétersbourg (1896-1914), il a pour élèves Pavlova, Fokine, V. *Nijinski, A. *Vaganova, F. *Lopoukhov. Il enseigne aussi à l'École du ballet russe d'Akim Volinski (1921-1922). Il quitte la Russie en 1922 et ouvre une école à Londres, en 1923, avec Nadine Nikolaïeva-Legat son épouse. Il compte parmi ses élèves N. de *Valois, A. *Markova et M. *Fonteyn. De 1925 à 1926, il enseigne aussi aux *Ballets Russes de *Diaghilev. Il est l'auteur d'un ouvrage, Story of the Russian School (Londres, 1932) et, comme dessinateur, d'un album le Ballet russe en caricatures (avec S. Legat, Saint-Pétersbourg, 1903).
ESou
Autres chorégraphies. Le Chat botté (1906, mus. A. Mikhaïlov) ; la Petite Fleur rouge (1907, mus. J. P. E *Hartmann, Mariinski) ; le Lis blanc (1914, mus. B. *Assafiev, Maison du peuple).
Fernand LÉGER (1881-1955).
Peintre et scénographe français.
Après des études d'architecture, il s'inscrit aux Arts décoratifs et fréquente l'Académie Julian (1908). Influencé par le cubisme, il élabore un travail abstrait dans le traitement des formes et des couleurs, où le rythme est premier. Bouleversé par l'horreur de la Première Guerre mondiale, il modifie en profondeur sa peinture : elle devient le témoin du drame de la civilisation urbaine et industrielle, dans sa violence et sa frénésie. En réponse au traumatisme de la guerre, il invente, au moins plastiquement, un nouvel état du corps : solidarisant ses différentes masses, il construit une corporéité plus forte, plus puissante, mais aussi, étrangement, plus déliée, capable de dégager sa vulnérabilité des agressions du monde extérieur. Il présente de manière formelle et cinétique ces nouveaux mécanismes corporels en 1924 dans *Ballet mécanique (coréal. Dudley Murphy). Émigré aux États-Unis pendant la Seconde Guerre mondiale, il regagne la France en 1945.
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