Sa beauté méditerranéenne, son charisme, sa technique solide lui permettent d'aborder des rôles classiques du répertoire (le *Lac des cygnes, *Roméo et Juliette, *Raymonda) mais également de s'épanouir dans les créations des chorégraphes invités à l'Opéra de Paris. M. *Béjart le premier la distingue en lui confiant en date le rôle de l'Élue dans le *Sacre du printemps. Danseuse, elle aborde les rôles en comédienne. Troublante dans le Rendez-vous de R. *Petit, dramatique dans *Giselle de M. *Ek comme dans le Sacre du printemps de V. *Nijinski remonté par M. *Hodson, elle se coule dans le style fluide de C. *Carlson qui crée pour elle Don't Look Back (1993). En conjuguant sa carrière d'interprète et de chorégraphe (Corsica, 1996) avec la direction d'une compagnie, elle confirme l'énergie remarquable qu'elle sait conférer à sa danse.
MP
Joseph PILATES (1880-1967).
Pédagogue américain d'origine allemande.
Il pratique divers sports dont la gymnastique et la boxe. Pendant la Première guerre mondiale, il met au point un appareil de rééducation pour les blessés, l'Universal Reformer. Au début des années 1920, il s'installe à New York, où il ouvre un studio bientôt fréquenté par de nombreux danseurs, dont J. *Andrews qui y travaille dans les années 1940 avant d'y enseigner pendant deux ans.
Sa méthode fait appel à des machines, dites instruments Pilates, comportant des ressorts puissants qui créent une résistance contre ou avec laquelle s'effectue le travail à partir de points fixes (éléments solidaires du sol) et mobiles (chariot coulissant sur des rails). L'accent est mis sur le contrôle du mouvement, les axes et les équilibres musculaires. Cette méthode est aujourd'hui enseignée dans différents studios à travers le monde, dont certains délivrent des diplômes.
Elle est introduite en France dans les années 1970 par J. Andrews qui la fait évoluer à partir de son expérience de danseur. Ne retenant que deux machines - à dynamique horizontale pour l'une, verticale pour l'autre -, Andrews insiste sur les directions spatiales du mouvement, la conscience des *appuis, l'acuité du toucher, et développe conjointement un travail à la *barre traditionnelle ou avec un bâton. Cette pratique originale est transmise depuis sa mort par certains de ses élèves, dont D. *Dupuy.
NSch, PLM
Pilobolus Dance Theater.
Compagnie de danse américaine fondée en 1971.
Ce groupe au fonctionnement collectif et autogestionnaire, empruntant son nom à un champignon, est créé par quatre étudiants de la classe d'A. *Chase à l'université de Darmouth (Vermont), M. *Pendleton, Jonathan Wolken, Robby Barnett et Lee Harris. En 1973, ils sont rejoints par Chase elle-même et M. *Clarke. Le groupe voit, au fil des ans, de nombreux départs et arrivées (Barnett, Chase, Michael Tracy, qui remplace Harris dès 1974, et Wolken, constituant le noyau permanent) mais conserve une identité gestuelle fondée sur des qualités gymniques et souvent athlétiques. Influencées par le travail d'A. *Nikolaïs, les nombreuses créations, dont Walklyndon (1971), Ciona (1974), Shizen (1977), se caractérisent par un travail sur l'illusion, traitant le corps comme un matériau malléable capable de prendre de multiples formes. Certains membres ont formé d'autres collectifs du même genre (*Crowsnest Trio, *Momix).
GV
Maria PILTZ, [P. Maroussia, dite ] (1891-1968).
Danseuse russe.
Condisciple et amie des *Nijinski à l'École de danse de *Saint-Pétersbourg, où elle est l'élève de M. *Fokine, elle est soliste au *Mariinski de 1909 à 1922. Elle participe aux *Ballets russes (1910- 1913), où elle crée le rôle de l'Élue du *Sacre du printemps. Après 1922, elle danse au Théâtre d'opéra et de ballet de *Leningrad et y compose des chorégraphies.
MFB, ESou
Wilfride PIOLLET (née en 1943).
Danseuse et pédagogue française.
Elle aborde la danse chez I. *Popard et entre à l'École de l'Opéra de *Paris en 1955. Elle est engagée en 1960 dans le Ballet, où M. *Béjart lui donne son premier rôle de soliste en 1966 dans *Noces. Nommée *étoile en 1969, elle y reste jusqu'en 1983, tout en partageant avec son époux, J. *Guizerix, un fructueux travail de recherche et de création. Puis elle poursuit un parcours personnel. Depuis 1989, elle enseigne la danse académique au *CNSMD de Paris avec une approche novatrice, issue de son expérience de danseuse et de recherches liées à l'*analyse fonctionnelle du mouvement.
Sa liberté d'esprit et sa curiosité font d'elle une des personnalités les plus singulières de l'Opéra. S'appuyant sur une technique sans faille, elle recherche avec passion l'essence organique des pas, dans la tradition comme dans l'innovation. À l'Opéra et dans le monde entier, elle interprète les grands rôles du répertoire (*Giselle, le *Lac des cygnes, la *Belle au bois dormant), et les chorégraphes du XXe siècle comme G. *Balanchine, S. *Lifar, R. *Petit, J. *Robbins, ou F. *Blaska. Elle se confronte également aux nouvelles formes de danse avec D. *Bagouet, L. *Childs, M. *Cunningham, R. *Dunn, A. *DeGroat ou D. *Larrieu, et à la danse *baroque (création d'*Atys en 1987).
MFB
MArio PISTONI (1932-1992).
Danseur et chorégraphe italien.
Élève de E. *Caorsi et de Teresa Battaggi à l'École de l'Opéra de *Rome, il intègre le ballet en 1948. Nommé primo ballerino en 1951, il rejoint la *Scala en 1953 avec le même titre avant d'être nommé étoile en 1958. Danseur d'une trempe exceptionnelle, il passe avec aisance des grands classiques (*Giselle, *Petrouchka) à ses propres créations ou à celles d'autres chorégraphes comme A. von *Milloss (La Soglia del tempo, 1951), L. *Massine (Mario e il mago, 1956 ; Don Juan, 1959), J. *Cranko (*Roméo et Juliette, 1958). Très actif jusqu'à la fin de sa vie, il continue de travailler à la Scala et pour l'Opéra de Rome dont il dirige le ballet pendant la saison 1988-1989. Il obtient un de ses plus grand succès avec La Strada (1966, mus. Nino Rota, d'apr. le film de Federico Fellini) aux Arènes de Vérone, ville dont il dirige le ballet en 1990.
ATes
Autres chor. Le *Fils prodigue (1962) ; Spirituals (1963, mus. M. *Gould) ; Francesca da Rimini (1966, mus. *Tchaïkovski) ; le *Mandarin merveilleux (1968) ; Concerto dell'albatro (1971, mus. Ghedini).
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