Autres chorégraphies. H.M.S. Royal Oak (1932) ; Coppélia (1934) ; la Dame aux camélias (1945, mus. R. Vlad, déc. L. *Fini) ; Danses de Galanta (1945, mus. Z. *Kodály, déc. G. De Chirico) ; Estro arguto (1957, mus. S. *Prokofiev) ; Die Wiederkehr (1962, mus. Vlad, déc. T. Otto) ; Estro barbarico (1963, mus. B. *Bartók, déc. F. *Clerici) ; Jeux (1967, mus. C. *Debussy, déc. Cagli) ; Rivolta di Sisifo (1977, mus. Petrassi). Bibliographie. P. Veroli, Milloss, LIM, Lucques, 1996. Filmographie. Les Créatures de Prométhée (1966, télévision autrichienne) ; Estri (1968, RAI radiotélévision italienne) ; Un'ora con Milloss (1969, RAI radiotélévision italienne).
Florence MILLS (1895-1927).
Danseuse américaine.
Elle débute très jeune avec le numéro de ses sœurs avant de travailler avec son mari, Ulysses S. " Slow Kid " Thompson, dans les circuits de *vaudeville. Elle se produit à *Broadway en 1921 dans *Shuffle Along, d'où elle est propulsée au rang de vedette dans Plantation Revue (1922), Dixie to Broadway (1924), Blackbirds (1926, Londres), Réputée pour l'aisance et la fluidité de son style, elle n'a laissé aucune trace filmée de son talent, sa mort prématurée ne lui ayant pas permis de se produire au cinéma.
ESe
Louis Jacques Jessé MILON (1765-1845) .
Danseur et maître de ballet français.
D'abord premier danseur à l'Opéra de *Paris, Milon devient *maître de ballet à l'Ambigu-Comique. Grâce aux succès que remportent ses créations sur les *Boulevards, il est engagé comme second maître de ballet à l'Opéra de Paris (1790-1826). Sa personnalité conciliante lui permet de se maintenir dans ce théâtre où règne en maître P. *Gardel. J. G. *Noverre souligne la vraie prouesse de Milon, « obtenir le suffrage du public sans le secours de l'intrigue ou de la cabale ». La plupart des ses œuvres sont reprises à travers l'Europe. Parallèlement à sa carrière de chorégraphe, il est aussi le dernier grand professeur de *pantomime à l'Opéra de Paris.
Ses œuvres, qu'on ne peut dire novatrices, sont en phase les goûts du temps. Il s'appuie sur des actions bien construites que son art consommé de la pantomime rend lisibles. En cela, il est servi par la présence dans la troupe d'É. *Bigottini dont le talent correspond exactement à sa conception de la chorégraphie. Sans cette interprète idéale, ses ballets n'auraient pas suscité un tel engouement du public. Il crée des fantaisies pleines d'humour comme les *Noces de Gamache (1801) ou le *Carnaval de Venise (1816). Toutefois, les grandes œuvres de Milon sont des mélodrames, *Nina ou la Folle par amour (1813) et Clari ou la Promesse de mariage (1820). Les deux héroïnes sont trahies par leur amant. Leur constance et quelques coups de théâtre les sauvent au dernier moment. Rareté à une époque où les livrets doivent se conformer à la morale, Clari présente une jeune femme à la conscience déchirée, compromise par son noble amant qui tarde à l'épouser. Très datés dans leurs livrets et leur esthétique, ces ballets cessent d'être donnés après 1830.
SJM
Autres chorégraphies. *Pygmalion (1XXX, Ambigu-Comique) ; Héro et Léandre (1789, Op. de Paris) ; Lucas et Laurette (1803, Op. de Paris) ; le Retour d'Ulysse (1807, Op. de Paris) ; l'Enlèvement des Sabines (1813, Op. de Paris) ; l'Épreuve villageoise, l'Heureux retour (1815, avec P. Gardel, Op. de Paris) ; les Sauvages des mers du Sud (1816, Op. de Paris) ; les Fiancés de Caserte (1817, avec P. Gardel, Op. de Paris).
John MILTON (1608-1674).
Poète et pamphlétaire anglais.
Né à Londres, il est diplômé du Christ's College de Cambridge en 1629 et obtient un Master of Art en 1632. Pendant toute sa vie, il s'intéresse à la musique et aux idées de Pythagore et de Platon sur l'harmonie des sphères. Le compositeur Henry Lawes l'invite à écrire le livret d'un divertissement pour la comtesse douairière de Derby (1633). Il y montre une grande maîtrise de cette forme aristocratique de divertissement et, en 1634, sur commande, écrit le *masque *Comus. En 1638, en voyage en Italie, il est rappelé chez lui en raison du début de la guerre civile anglaise et s'engage dans les conflits religieux : il écrit des pamphlets en faveur du protestantisme anglais, et plus tard, pour appeler à l'exécution du roi Charles. Il devient aveugle en 1652. À la restauration de la monarchie, il quitte la vie publique, se consacrant à l'écriture de son poème épique Paradise Lost, publié en 1667.
MI
Jan MINARIK, [Mindo Jean, dit ] (né en 19xx).
Comédien et danseur tchèque.
Membre du Tanztheater de *Wuppertal avant même l'arrivée, en 1973, de P. *Bausch, il devient un personnage essentiel des pièces de la chorégraphe, faisant office de présentateur, de régisseur de scène, de donneur d'ordres. Meneur de jeu un rien sadique, il est aussi celui qui porte les danseurs, leur prête attention, apporte à point nommé un micro pour amplifier la parole. Il prend note, photographie, contrôle les identités et veille au bon ordre du plateau.
Dans Blaubart [*Barbe-Bleue] (1977), son rôle le plus marquant, il imprime d'une rage enfantine cette comédie guerrière où les sexes se cherchent, se heurtent et s'épuisent en flux et reflux déchaînés.
JMA
Pablo MINGUET Y IROL (1XXX-1XXX).
Maître à danser espagnol.
Il est l'auteur d'un traité, Arte de danzar a la Francesa, dont les nombreuses rééditions permettent de mesurer le passage de l'influence italienne à celle de la France. La première partie du livre, initialement publié en 1737, est inspirée du Maître à danser de P. *Rameau, tandis que la seconde, contenant des explications pour danser à l'espagnole, emprunte beaucoup au traité de J. *Esquivel. Le tout est suivi d'instructions pour la *pavane, la *gaillarde, l'españoleta, le villano, etc.
Dans l'édition de 1758, l'influence française est incontestable. Si la première partie ne change pas par rapport à celle de 1737, la seconde contient des instructions pour de nombreuses *contredanses, suivies de danses à deux, françaises pour la plupart, en *notation Feuillet. En 1764, Minguet ajoute un « Breve Tratado » de pas de danses espagnoles, sans toutefois les expliquer.
MI
Léon MINKUS, [M. Aloisius Ludwig] (1827-[entre 1890 et 1917]).
Compositeur autrichien.
Les premières années de sa vie de compositeur, largement consacrée à la danse, ne sont pas bien connues. En 1853, il est sans doute le premier violon de l'orchestre privé du prince Nicolaï Yousoupov, puis enseigne cet instrument au *Bolchoï de Moscou où il est engagé comme chef d'orchestre (1861-1872). Il compose alors pour A. *Saint-Léon Fiammetta, créé en 1864 à Saint-Pétersbourg - repris à l'Opéra de *Paris la même année sous le titre Néméa ou l'Amour vengé. Resté en contact avec celui-ci, il collabore avec L. *Delibes à la la *Source (1866) - repris à Saint-Pétersbourg en 1869 sous le titre le Lys - et compose pour lui Poisson d'or (1867, Saint-Pétersbourg). Le succès de *Don Quichotte (1869, Moscou) écrit pour M. *Petipa lui vaut d'être nommé compositeur officiel du ballet du Bolchoï. Cette première collaboration est suivie de quatorze autres ballets dont Camargo (1872), le *Papillon (1874), la Bayadère (1877), Mlada (1879), Zoraya (1882), le Jour et la Nuit (1883), la Pilule magique (1886). Dès 1872, il succède à C. *Pugni au *Mariinski comme compositeur officiel des ballets, poste qu'il conserve jusqu'à sa suppression par I. *Vsevolojski fin 1886, lequel fait appel dès 1887 à P. *Tchaikovski. Son dernier ballet pour Petipa, Kalkabrino, est créé en 1891, après son départ. Les dernières années de sa vie, restent une énigme de même que la date de sa mort, probablement à Vienne.
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