À partir de 1964, il se forme au *butô auprès de T. *Hijikata. Parallèlement, il fonde avec Juro Kara le Jokyo Gekijo [Théâtre de la situation], puis, en 1972, la compagnie Dairakudakan [Grand navire-chameau], avec U. *Amagatsu, K. *Murobushi, C. *Ikeda, Isamu Ôsuga, Bishop Yamada, entre autres. La plupart d'entre eux suivront ses encouragements répétés de créer leur propre compagnie, faisant de Dairakudakan le berceau d'une génération de chorégraphes japonais.
Comptant parmi les comédiens les plus en vue du théâtre japonais d'avant-garde des années 1960, il est l'héritier fidèle du style de Hijikata de cette période. Auteur de pièces spectaculaires dans des décors surabondants, il développe un style, appelé Tempu-Tenshiki [Règles de cérémonie céleste], où la violence et l'érotisme tiennent une place centrale.
MG
Chorégraphies. Umi jirushi no uma [Cheval tacheté de mer] (1980) ; Rashômon (1987) ; Ugetsu [l'Enfer atteignant le Paradis] (1993) ; Shisha no sho [le Livre des morts] (1996).
(Ballet national de) Marseille.
Compagnie française fondée en 1972.
À la demande de Gaston Defferre, alors maire de Marseille, R. *Petit constitue une compagnie sous le nom de Ballets de Marseille, qui devient ballet national en 1981. Composée d'une quarantaine de danseurs, D. *Khalfouni étant la principale *étoile à partir de 1980, elle rayonne et tourne en France et dans le monde entier avec un répertoire constitué essentiellement des œuvres de son directeur. Une École de danse lui est adjointe en 1992. La direction de la compagnie est reprise en 1998 par M.-C. *Pietragalla, qui donne une nouvelle orientation artistique.
GM
Suzan MARSHALL (née en 1958).
Danseuse et chorégraphe américaine.
Elle débute par une carrière de gymnaste puis étudie à la *Juilliard School. En 1982, elle commence à chorégraphier pour sa propre compagnie, répondant également à des commandes (*GRCOP, *Boston B. , *Dallas B. ). Proche du *contact-improvisation, son travail explore, par le simple jeu des interactions entre interprètes, des gammes de rapports humains (domination-soumission, rivalité, agression-tendresse, etc. ). En 1998, elle collabore avec Ph. *Glass pour les Enfants terribles, spectacle-*performance intégrant danseurs et musiciens.
PLM
Autres chorégraphies. Arms (1984), Kiss (1987) ; The Aerialist (1987) ; Central Figure (1994).
Merle MARSICANO, [ndn. Petersen M. ] (1920-1983).
Danseuse et chorégraphe américaine.
Elle étudie la danse *moderne avec R. *Saint Denis et M. *Graham, et suit des cours de composition avec L. *Horst. À partir de cette formation, elle développe un vocabulaire propre, se démarquant de l'investissement social qui prévaut alors chez les chorégraphes. Dès les années 1950, elle choisit de fragmenter ses méthodes de travail et signe des compositions inspirées par les mouvements artistiques contemporains. Ce style garde néanmoins une frontalité délibérée (Figure of a Memory, 1954, mus. M. *Feldman), même s'il s'appuie parfois sur des partitions de J. *Cage (Fragment for a Greek Tragedy, 1958). Images in the Open (1962) ou Disquieting Muses (date) seront des pièces empreintes d'une certaine étrangeté.
DD, SS
Pier Jacopo Martello, ou [Iacopo] (1665-1727).
Librettiste, dramaturge et essayiste italien.
Représentant de l'Arcadia, académie née à Rome en 1690, qui propose le renouvellement de la littérature à partir de la tradition classique, très attentif à la culture française, il invente le vers dit « martellien », visant à égaler le succès de l'alexandrin français. Dans son ouvrage théorique, Della tragedia antica e moderne (1714), il propose une comparaison entre les différentes façons de danser en France, en Espagne et en Italie.
MN
Anne MARTIN (née en 19xx)
Danseuse suisse.
Après des études musicales, elle s'oriente vers la danse, rejoint le Tanztheater de *Wuppertal, en 1978, et participe à la création de *Kontakthof de P. *Bausch. Elle reste douze années auprès de la chorégraphe, participant à tous ses spectacles, jusqu'à Viktor (1986). Sa silhouette flottante, d'une extrême minceur, marque notamment *Nelken (1982). En 1984, elle reprend la danse somnambulique de P. Bausch dans *Café Müller.
Depuis 1991, elle se consacre exclusivement à la musique et au chant, dans des compositions personnelles et des airs traditionnels où elle recherche « la voix du corps ».
JMA
Frank MARTIN (1890-1974).
Pianiste et compositeur suisse.
Après avoir étudié à Genève de 1918 à 1926, il continue sa formation à Zurich, Rome et Paris. De retour à Genève, il commence à enseigner dans plusieurs institutions importantes et à jouer du piano et du clavecin. En 1946 il s'établit définitivement au Pays-Bas, où il reste jusqu'à sa mort. Sa musique, à la croisée de différentes traditions et tendances, aboutit à une légèreté et à une ironie assez recherchées, très appréciées par des chorégraphes tels J. *Robbins (Look Ma, I'm dancing, 1948 ; Miss Liberty, 1949)K. *Macmillan (Laiderette, 1954 ; The Burrow, 1958 ; Las Hermanas, 1963) et J. *Kylián (Viewers, 1973). Sa Petite symphonie concertante a été chorégraphiée par M. *Descombey (1962) et S. * Golovine (1966).
EQ
John MARTIN (1893-1985).
Critique et théoricien américain.
Après avoir travaillé dans le milieu théâtral, il devient critique de danse pour le New York Times (1927-1962) et assiste aux débuts de tous les grands chorégraphes modernes américains (M. *Graham, D. *Humphrey, C. *Weidman, H. *Tamiris, H. *Holm, etc.). Ardent défenseur de cette modernité en plein essor, il est aussi l'un de ses premiers théoriciens, s'efforçant d'en définir les missions et de la doter d'un vocabulaire. Son plus fameux et premier ouvrage, la Danse moderne (1933 ; trad. française, Actes Sud, Arles, 1991), demeure une référence à la fois pour sa clarté et sa lisibilité, et comme reflet d'une façon de penser la danse très marquée par son époque. J. Martin a joué un rôle crucial dans le développement et la reconnaissance de cet art nouveau, et la conquête d'un public plus large.
GV
Bibliographie. J. MartinIntroduction to the Dance, Dance Horizons, New York, 1939 ; The Dance, éditeur, ville, 1945 ; World Book of Modern Ballet, éditeur, Cleveland and New York, 1952.
Bohuslav MARTINŮ (1890-1959).
Compositeur tchèque.
Promis à une carrière de violoniste virtuose, il se consacre pourtant d'avantage à la composition, qu'il aborde à partir de dix ans. Expulsé du Conservatoire de Prague à cause de son manque de discipline et d'intérêt, sa fortune ne sera pas meilleure en tant que deuxième violon à l'Orchestre philharmonique tchèque. Installé à Paris grâce à une bourse en 1923, il y est l'élève d'A. *Roussel, relation qui lui permet de faire jouer sa musique. Émigré aux États-Unis au début de la Seconde Guerre mondiale, il s'y fait connaître par sa Première Symphonie (1942), commande de Serge A. Koussevitzky, et finit par occuper la chaire de composition de l'université de Princeton. Son œuvre immense et inégale, sans appartenir à une école précise, métabolise des influences multiples : folklore tchèque, jazz, musique baroque, ou C. *Debussy.
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