Autres films musicaux. The Gay Desperado (1936) ; High Wide and Handsome (1937). Biblio. T. Milne, Rouben Mamoulian, Thames and Hudson, Londres, 1979.
Rallou MANOU (1915-1988) .
Danseuse, chorégraphe et pédagogue grecque.
Élève de V. *Pratsika, elle parfait sa formation à Paris, Munich et New York où, de 1945 à 1947, elle étudie auprès de D. *Humphrey, H. *Holm et surtout de M. *Graham, dont elle diffusera la technique en Grèce. En 1950, elle dote son école, créée dès 1941, d'une section professionnelle. Un an plus tard, elle crée l'événement en fondant le Choréodrame hellénique qui réunit les plus grands noms de la musique, de la chanson, de la peinture, du théâtre et du théâtre d'ombres grecs. Ses chorégraphies, à la thématique et à la gestuelle d'inspiration antique, byzantine, populaire et grahamienne, changent le regard sur la danse et attirent un public enthousiaste de voir cet art s'engager sur les chemins de la modernité sans sacrifier l'identité grecque. À ce titre, compte tenu aussi du rayonnement de sa personnalité, elle s'apparente à Graham. Son école perpétue son œuvre. Elle est l'auteur d'un document filmé de 4 heures retraçant l'Histoire de la danse en Grèce depuis les temps mythiques jusqu'à nos jours.
ERou
Chorégraphies. Alexandre le Grand et le serpent maudit (1951) ; Marsyas (1949) ; Pithopracta (1967) ; Six tableaux populaires (1951), Apologie de Clytemnestre (1967) ; Erotokritos (1965).
Charis MANTAFOUNIS (né en 1944) .
Danseur, chorégraphe et pédagogue grec.
Formé à la danse classique par L. de *Pian, il fait un bref passage comme soliste à l'Opéra de Bonn et dans les compagnies de J. *Lazzini et de P. *Goos à Paris. Il part ensuite à New York où il parfait sa formation à l'école d'A. *Ailey et se familiarise avec les techniques de M. *Graham et J. *Limón. Lauréat ex aequo avec D. *Bagouet du concours de *Bagnolet en 1976, il se consacre à la création et signe de nombreuses œuvres, notamment un cycle *Shakespeare (1996-1997), au sein de sa Compagnie de danse contemporaine fondée en 1980.
ERou
Vera MANTERO (née en 1966).
Danseuse et chorégraphe portugaise.
Elle étudie la danse classique et intègre en 1984 le *Ballet Gulbenkian où elle réalise, au sein du Studio expérimental, ses premières pièces (Ponto de interrogação, 1987). Un séjour d'une année à New York (1989) modifie sa trajectoire ; outre des cours au studio de M. *Cunningham, elle travaille le théâtre, la voix, les techniques de *release et la composition. De retour à Lisbonne, elle devient l'une des figures majeures de la *nouvelle danse portugaise. Rejetant la danse théâtrale, qu'elle perçoit comme « hyperspécialisation du spectacle», elle développe de surprenantes figures corporelles de poupée disloquée, où la fantaisie de mouvements arythmiques peut évoquer l'expression d'une certaine folie. Ses solos en sont emblématiques. Dans Une mystérieuse chose, a dit e. e. cummings (1996), à partir d'un hommage à J. *Baker, elle se tient sur place, agitée d'un tremblement spasmodique, et égrène une litanie sur des « impossibilités atroces ». Ses pièces de groupe s'orientent vers des mises en scène débridées, à l'humour surréaliste.
JMA
Autres chorégraphies. Uma Rosa de Músculos (1990) ; Perhaps She Could dance Before and Think Afterwards (1992) ; Different Skies, Different Clouds (1994, pour la Batsheva Dance Company) ; Sob, Pour ennuis et profondes tristesses (1994) ; A Dança do existir (1996) ; la Chute d'un ego (1997).
Luigi Manzotti (1835-1905).
Danseur et chorégraphe italien.
Il étudie à Milan avec le célèbre mime Giuseppe Bocci et débute lors de la saison 1857-1858 au Teatro alla Canobbiana dans l'Incoronazione di Corinna in Roma d'Alessandro Borsi. De 1860 à 1873, il est régulièrement acclamé à Rome dans les ballets de G. *Rota, H. *Montplaisir, A. *Pallerini et F. *Pratesi. Il présente aussi dans cette ville ses premiers ballets, dont La Morte del Pescatore (1862, Teatro Argentina), Rolla (1869, Teatro Apollo). Avec Pietro Micca (1871, mus. G. Chiti, Teatro Apollo), créé tout de suite après la prise de Rome par le royaume d'Italie, Manzotti exploite le filon de l'éloge de la dynastie de Savoie. En 1878, il présente au *Teatro Regio de TurinSieba o la Spada di Wodan (Sieba ou l'Épée de Wotan, mus. R. *Marenco). Il compose ensuite sa trilogie *Excelsior (1881), *Amor (1886), Sport (1897), pièces créées pour la Scala sur des musiques de Marenco. Rosa d'Amore (liv. Carlo D'Ormeville, mus. J. Bayer), son dernier ballet, est créé en 1899.
Héritier du théâtre dansé italien, en particulier celui de Rota, il devient l'interprète des nouvelles valeurs de la bourgeoisie et de l'industrie qui s'affirment avec l'Unité italienne. Créés au cours de la période qui voit la naissance d'un circuit national de diffusion favorisé par les nouvelles lois sur les droits d'auteur, ses ballets circulent beaucoup dans les théâtres italiens, notamment Excelsior, qui sera aussi remonté dans le monde entier. Après avoir manifesté son engagement patriotique avec Pietro Micca et son adhésion au positivisme avec Galileo Galilei (1873, Rome), il s'ouvre à la mythologie nordique introduite par le théâtre wagnérien avec Sieba. Mais c'est avec Excelsior, imposante célébration du progrès et de la civilisation industrielle, qu'il dépasse le théâtre héroïco-pathétique du coreodramma et le théâtre psychologique et sentimental du romantisme en concevant un balli grande dans lequel il donne corps à l'idée abstraite de la Lumière opposée à celle de la Régression (les Ténèbres). C'est avec la même intention didactique et le même désir de divulgation des nouvelles idée laïques qu'il compose Amor et Sport. Ces balletti grandi allient la somptuosité des scènes et l'effet des *ballabiles de masse à l'efficacité des parties mimées et la virtuosité d'interprètes réputés, tels E. *Cecchetti et V. *Zucchi.
CCe
Giacomo Manzù (1908-1991).
Sculpteur et scénographe italien.
Il débute comme scénographe en 1964 avec l'opéra d'I. *Stravinski, dipe roi. Dans ses espaces raréfiés, quelques objets (pierres, masques, chaises) assument une forte objectivation visuelle et d'évidentes connotations symboliques. Après *Histoire du soldat (1966, M. *Béjart ; rep. 1971, M. *Pistoni et 1972, U. *Dell'Ara), il collabore avec A. *Milloss pour La *Folia di Orlando (rep. 1966) où la rigueur formelle de son style touche à la quintessence.
PV
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