La théâtralité des débuts est abandonnée rapidement pour une recherche sur l'autonomie, la collision et la rencontre des genres (danse, film, musique) dont l'étrangeté, l'intensité et la prise de risque seraient le dénominateur commun. Il détourne les stéréotypes sexuels (surtout féminins) tant par le costume que par les actions, réserve à ses propres films la part référentielle. La structure par collage, balisée pae des arrêts ou des changements abrupts, laisse à chaque séquence son indépendance et à chaque artiste la pleine visibilité. Stimulé par la disponibilité totale de L. *Lecavalier, jouant de la chute comme défaillance du saut, il invente une nouvelle virtuosité - qui fait école au Canada et en Europe - crue et raffinée à la fois, matière irruptive complexe agissant directement sur l'affect : vélocité, horizontales vrillées, pas de deux déglingués, spasmes, sinuosités venues d'un lointain orient. Avec " 2 " (1995), pièce de la maturité, la surcharge s'estompe, la fougue se sensualise, la mort est en sourdine.
MFe
Autres chor. La Maison de ma mère (1977) ; Lily Marlene dans la jungle (1980) ; Oranges (1981) ; Businessman in the Process of Becoming an Angel (1983) ; New Demons (1987) ; Bread Dance (1988, Het Nationale Ballet) ; Infante, c'est destroy (1991) ; Étude (1996, *Grands B. canadiens). Biblio. C. Pontbriand, " la Chute du saut, interview avec E. Lock ", Parachute, n° 64, 1991. Filmo. La La La Human Sex duo no 1 (1987, réal. B. Hébert) ;le Petit Musée de Vélasquez (1994, id.) ; Inspirations (1996, réal. M. Apted).
Ilse, LOESCH [ndn. Ina Veria ] (née en 190?).
Pédagogue et choréologue allemande.
Socialiste convaincue, formée à la *chorégraphie par R. *Laban, elle voue sa vie à l'éducation enfantine et à la danse chorale. Animatrice avec Jenny Gerz du *Bewegungschor de Halle, elle est arrêtée en 1933 pour ses activités d'agit-prop antinazies. Elle poursuit son travail à Prague et Sofia. Après la guerre, elle enseigne à l'Institut du théâtre de Leipzig, mène des recherches sur l'histoire de la danse et milite pour la diffusion de la *notation Laban.
LGui
Bibliographie. I. Loesch, Mit Leib und Seele. Erlebte Vergangenheit des Ausdruckstanzes, Berlin, Henschel, 1990.
Frederick LOEWE (1904-1988).
Compositeur américain d'origine autrichienne.
Élève de Ferruccio Busoni à Berlin, il émigre aux États-Unis en 1924, où il rencontre le parolier Alan Jay Lerner. Leur premier effort commun, What's Up (G. *Balanchine, 1943) est un échec, vite rattrapé par le raz-de-marée mondial qu'est leur adaptation du Pygmalion de G. B. Shaw, My Fair Lady (H. *Holm, 1956).
BT
Sur la musique de Loewe. A. *De Mille (Paint Your Wagon, 1951 ; The Bitter Weird, 1962) ; G. *Kelly (film Brigadoon, 1954).
London Contemporary Dance School (LCDSch).
École de danse britannique fondée en 1966.
Son ouverture constitue le premier acte du vaste projet développé par Robin Howard à The *Place. Sous la responsabilité de R. *Cohan pendant des années, elle contribue activement au développement de la danse moderne en Grande-Bretagne. Dirigée par Veronica Lewis depuis 1998, elle accueille 160 élèves et offre une formation supérieure en danse contemporaine de trois ans avec la possibilité d'une quatrième année complémentaire.
OD
London Contemporary Dance Theatre (LCDTh).
Compagnie de danse britannique (1967-1994).
Formée avec des élèves de la *London Contemporary Dance School, basée à The *Place dès 1969, elle est dirigée jusqu'en 1988 par R. *Cohan qui imprime une marque grahamienne au répertoire tout en accueillant les créations de jeunes chorégraphes. D. *Wagoner succède à Cohan en 1989, et par la suite Nancy Duncan avant que la compagnie disparaisse en 1994.
OD
London Festival Ballet.
Nom porté par l'*English National Ballet de 1968 à 1988.
CH
Ouliana Lopatkina (née en 1973).
Danseuse russe.
Diplômée de l'École de danse de *Saint-Pétersbourg, elle danse au *Mariinski à partir de 1991. Danseuse raffinée au corps svelte, au visage grave, presque tragique, elle interprète notamment Zarema (la *Fontaine de Bakhtchissaraï), Nikia (la *Bayadère), Odette-Odile (le *Lac des cygnes), et des solos dans *Paquita et le *Palais de cristal. En 1997, elle reçoit le prix international la Divine.
ESou
Lourdes LOPEZ (née en DATE).
Danseuse américaine.
Née à La Havane, elle grandit à Miami où elle étudie auprès d'Alexander Negroff. Elle participe à plusieurs sessions d'été de la *School of American Ballet avant d'intéger le *NYCB dont elle devient soliste en 1980 et danseuse principale en 1984. Interprète de G. *Balanchine, J. *Robbins et P. *Martins, ce dernier composant un solo pour elle dans Sonate di Scarlatti dès 1979 tandis que Robbins crée pour elle un rôle principal dans Brandenburg (1997), elle participe aussi à des créations de L. *Dean, W. *Forsythe, L. *Lubovitch et J. *Alleyne. Elle quitte le NYCB en 1997.
RS
Pilar LÓPEZ (née en 1912).
Danseuse espagnole.
Sœur cadette de la *Argentinita, elle débute à quinze ans, comme pianiste, chanteuse et danseuse. De 1933 à 1945, elle accompagne sa sœur dans ses tournées internationales. Après la mort de la Argentinita, elle fonde sa propre compagnie, où elle mêle inspiration flamenca et des œuvres plus classiques, dans la tradition bolera. On lui doit notamment d'avoir introduit les castagnettes dans la seguiriya.
JMA
Fedor Lopoukhov (1886-1973).
Danseur et chorégraphe russe.
Formé à l'École théâtrale de *Saint-Pétersbourg, danseur du *Mariinski (1905-1909 et 1911-1922), il commence à composer des danses et des ballets à partir de 1918. Il dirige à plusieurs reprises le ballet du *Mariinski : de 1922 à 1930 (alors appelé Théâtre d'opéra et de ballet de Petrograd), en 1944-1945 et de 1951 à 1956 (alors appelé *Kirov). Son travail dans les deux compagnies de la ville (Mariinski et *Maly) est d'une importance déterminante, particulièrement dans les années 1920-1930. Faisant preuve d'une grande invention chorégraphique, il marie le vocabulaire *académique tantôt à l'acrobatie, tantôt au folklore, tantôt aux procédés de la commedia dell'arte et compose de nombreux ballets dont Grandeur de l'Univers (1923) sur la 4eSymphonie de L. van *Beethoven, la Rafale rouge (1924, mus. Vladimir Dechevov) qui traite de la Révolution de 1917, la *Fille de glace (1927), le Boulon (1931, mus. D. *Chostakovitch). Il est aussi le premier chorégraphe russe à monter les ballets de I. *Stravinski (l'*Oiseau de Feu, 1921 ; *Pulcinella, 1925 ; *Renard, 1927) dont il propose des versions totalement originales. Parallèlement, il s'efforce de préserver les grands ballets du XIXe s. (la *Belle au bois dormant, *Raymonda, etc.) à un moment où le ballet et la danse classiques sont considérés comme surannés et dépourvus d'intérêt pour les nouvelles générations. Se rangeant cependant résolument du côté de la recherche, dès les années 1930 il a des difficultés à produire de nouveaux ballets surtout après les attaques que subit *Clair ruisseau (1935). Il se borne alors à remonter les ballets du répertoire, à enseigner à la « faculté » pour chorégraphes qu'il a organisée (en fait un département du Conservatoire de Leningrad) et à écrire des livres : Soixante Ans dans le ballet (1966), les Révélations chorégraphiques (1972).
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