Cléo de Mérode, [M. Cléopâtre-Diane de, dite ] (1875-1896).
Danseuse belge.
D'authentique noblesse, formée à l'École de danse de l'Opéra de *Paris, elle est engagée dans le corps de ballet, devenant grand sujet en 1896. Elle quitte l'Opéra en 1898 pour faire une carrière indépendante dans toute l'Europe jusqu'en 1934. D'une grande beauté, elle pose pour le sculpteur Falguière. Sa renommée doit plus à ses célèbres soupirants qu'à ses talents artistiques.
NL
Marin MERSENNE (1588-1648).
Philosophe et religieux français.
Après des études chez les oratoriens et les jésuites, il suit des cours au collège royal et à la Sorbonne avant d'entrer dans les ordres. Ami du philosophe René Descartes, il est au centre de la vie intellectuelle de son époque en établissant des contacts avec les savants européens. Animé par le désir de concilier la science et la religion dans le but de combattre l'hermétisme, il publie de nombreux ouvrages théologiques sur la matière. N'ayant jamais pratiqué la musique, il signe néanmoins avec l'Harmonie universelle (Cramoisy, Paris, 1636) un des ouvrages les plus complets, traitant de toutes les questions mathématiques et physiques en relation avec les instruments et la voix. Sa contribution à l'acoustique et à l'organologie, d'un grand intérêt pour la recherche musicale, s'étend aussi à l'art chorégraphique. On trouve dans le " Traité de la voix et des chants " de l'Harmonie, de précieux renseignements sur " les mouvements des balets ordinaires " et leur degré de difficulté, ainsi que sur les danses, sensiblement les mêmes que celles décrites par T. *Arbeau, mais auxquelles Mersenne applique la métrique grecque. Se rapprochant de la conception de Baïf en matière de musique et de danse, il confère à ces deux arts un grand pouvoir à la fois éducatif et moralisateur ce qui tempère le côté scientifique et la vision mécaniste de l'univers tels que l'Harmonie universelle les révèle.
ERou
André Messager (1833-1929).
Compositeur français.
Il étudie la composition avec C. *Saint-Saëns et G. *Fauré. Organiste très apprécié, il se consacre bientôt à la composition et à la direction d'orchestre. Engagé d'abord à Paris (Folies-Bergère, Opéra-Comique), puis à Londres (Covent Garden), il est directeur de l'orchestre des *Ballets Russes de *Diaghilev en 1924. Il est l'auteur d'opérettes et d'opéras-comiques, dont Isoline (1888), et de quelques ballets, dont les *Deux Pigeons (1886, L. *Mérante).
EQ
Assaf Messerer (1903-1992).
Danseur, chorégraphe et pédagogue russe.
Membre d'une grande famille théâtrale, comprenant notamment les danseuses Sulamith Messerer (sa sœur) et M. *Plissetskaïa (sa nièce) ainsi que le peintre décorateur Boris Messerer (son fils), il est élève de l'École de danse de Moscou (1919-1921) et danseur du *Bolchoï (1921-1954). De petite taille, mais possédant une technique prodigieuse, il danse dans les ballets du répertoire (le *Lac des cygnes, *Don Quichotte, la *Fille mal gardée, *Coppélia) employant son talent de comédien à renouveler l'interprétation des rôles qu'il tient parfois avec une pointe d'ironie. Il crée aussi l'Idole chinoise (le *Pavot rouge, 1927), Lettica (les Voiles écarlates, 1942, A. *Radounski), le Prince (*Cendrillon, 1945, R. *Zakharov). Chorégraphe de Puppenfee [la Fée des poupées](sous le titre la Magicienne des poupées, 1925, École de danse), la Guerre des jouets (1926, mus. William Howard Schumann, Studio Drambalet), la Fille mal gardée (1930, Bolchoï), il compose en 1937 une nouvelle version du dernier acte du Lac des cygnes restée longtemps au répertoire du Bolchoï, ainsi que la Classe-concert (1962) et de nombreuses danses " de concert ", dont son très célèbre Footballeur. Comptant parmi les meilleurs pédagogues du Bolchoï, il enseigne aussi chez M. *Béjart, en Hongrie et en Pologne. Il est l'auteur d'un manuel, Ouroki klassitcheskogo tantsa [Leçons de danse classique] (Moscou, 1967) et de mémoires Tanets. Mysl. Vremia [la Danse, la Pensée, le Temps] (2eéd., Moscou, 1990).
ESou
Boris Messerer (né en 1933).
Peintre-décorateur russe.
Fils du danseur A. *Messerer, il est l'auteur de décors et costumes pour des pièces dramatiques et des opéras, ainsi que pour quelques ballets : les Trois mousquetaires (1966, P. *Goussev, *Novossibirsk), *Carmen-suite (1967, Alberto *Alonso, *Bolchoï), la Punaise (1974, 2è vers., L. *Yakobson, Cie Miniatures chorégraphiques), *Casse-noisette (1993, A. *Petrov, Théâtre du ballet du Kremlin). Il collabore aussi avec V. *Tchaboukiani et de D. Dadichkiliani à Tbilissi, R. *Akhoundova et M. *Mamedov à Bakou, V. Galstian à Erevan, etc. Privilégiant le graphisme et les couleurs monochromes, il attire l'attention sur les détails significatifs, prenant même parfois part directement à l'action d'une manière amusante comme dans les Trois mousquetaires où d'énormes mains agitent des sabres, tiennent les mâts des bateaux ou le collier de la Reine.
ESou
Olivier MESSIAEN (1908-1992).
Compositeur français.
Élève de Maurice Dupré pour l'orgue et de P. *Dukas pour la composition, après avoir tenté sans succès d'obtenir le prix de Rome, il développe un style original, à partir de ses recherches sur les rythmes grecs et hindous, les chants d'oiseaux, et les correspondances sons-couleurs. Professeur au Conservatoire de Paris, il y formera les compositeurs les plus influents de l'après-guerre.
Bien que n'ayant pas composé expressément pour la danse, la complexité rythmique, l'exotisme et la vivacité de sa musique ont inspiré quelques chorégraphies originales. Son œuvre de référence dans ce domaine reste *Turangalîla-Symphonie, montée d'abord par P.*Van Dijk (1960), puis par R. *Petit (1968).
BT
Sur la musique de Messiaen. H. *Van Manen (Essai en silence, 1965) ; J. *Cranko (Oiseaux exotiques, 1967) ; G. *Bohner (Quatuor pour la fin du temps, 1968).
Metro-Goldwyn-Mayer.
Firme cinématographique fondée en 1924.
De toutes les firmes hollywoodiennes, c'est de loin celle à qui l'on doit la majorité des chefs-d'œuvre de la *comédie musicale. L'attachement de Louis B. Mayer aux thèmes familiaux d'un côté et à la musique de l'autre l'incite, dès le début, à mettre en chantier des films musicaux. Ce sont d'abord des œuvres destinées à bénéficier du son et permettant de chanter et de danser à volonté (The Broadway Melody, 1929 ; The Hollywood Revue of 1929) puis Dancing Lady (1933) avec F. *Astaire dans un petit rôle, The Merry Widow (1934) où se retrouvent Maurice Chevalier et Jeanette MacDonald. Celle-ci est à l'époque pratiquement la seule vedette de films musicaux de la MGM : on la voit, opposée à Nelson Eddy ou à Gene Raymond dans Naughty Marietta (1935), Rose Marie (1936), Maytime (1937), Rosalie (1937), The Girl of the Golden West (1938) ou Sweethearts (1938). Mayer produit parallèlement The Great Ziegfeld (1936), à la gloire de F. *Ziegfeld, dont le grand numéro " A Pretty Girl Is Like a Melody " est d'une folle extravagance, ainsi que The Great Waltz (1938) chorégraphié par A. *Rasch, alors principal *dance director de la firme. Il décide ensuite de créer à l'intérieur même de la compagnie un département particulièrement dévolu aux *comédies musicales, qu'il confie à A. *Freed. C'est alors le début d'un véritable âge d'or qui voit la MGM mobiliser à son avantage les talents les plus divers.
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