Ce travail novateur, où l'acte pictural prime sur le résultat, aura des répercussions considérables jusqu'en Europe, et bien au-delà du champ de la peinture, provoquant la naissance de nouveaux courants artistiques. Son influence marque de toute évidence les recherches chorégraphiques de M. *Cunningham, notamment en ce qui concerne la négation du centre et la démultiplication des points de vue.
PC
Eleo POMARE (né en 1937).
Danseur et chorégraphe américain.
Né en Amérique du Sud, il se forme à la New York School of Performing Arts et auprès de J. *Limón. Il fonde, en 1958, l'Eleo Pomare Dance Company, qu'il dissout pour voyager en Europe, où il se forme et se produit auprès de K. *Jooss et H. *Kreutzberg. De retour aux États-Unis en 1964, il forme une compagnie plus importante. Sympathisant du mouvement des American Civil Rights dans les années 1960, il proclame que « tout art est politique » et crée des chorégraphies contestataires. En 1967, il lance et dirige le projet Dancemobile, scène de spectacle itinérante qui offre gratuitement des représentations dans les rues de New York. Prolifique, il crée aussi des œuvres abstraites, des récits dramatiques sur l'histoire afro-américaine et des fantaisies distrayantes et très théâtrales. Ses chorégraphies sont interprétées par l'Alvin *Ailey American Dance Theater, la Dayton Contemporary Dance Company, le Ballet national des *Pays-Bas, la Cleo Parker Robinson Dance Company et l'Australian Contemporary Dance Company. Entre 1988 et 1991, plusieurs de ses œuvres sont reconstituées par l'*American Dance Festival.
Pomare se bâtit une réputation extraordinaire par sa capacité à traduire sa colère en spectacles. Blues for the Jungle (1966), une description de la dégradation dans les villes, est salué pour l'audace de son thème, son sens théâtral hardi et la fulgurance de ses portraits. Pendant la danse, les interprètes crient des slogans et accusent le public de complicité dans la naissance du ghetto américain. Son solo Narcissus Rising (1968), créé dans une classe de composition de L. *Horst, donné aux sons d'une motocyclette, est remarqué pour sa franche agressivité. À ceux qui l'ont étiqueté « en colère », il rétorque que c'est parce qu'il ne fait pas « ce qu'on attend d'un danseur noir ». Et d'ajouter : « J'ai quelque chose à dire et je veux le faire avec honnêteté, avec force. »
TDF, ESe
Autres chorégraphies. Missa Luba (1965) ; Las *Desenamoradas (1967) ; Black on Black (1971) ; Blood Burning Moon (1978) ; Morning Without Sunrise (1986).
Jean POMARÈS (né en1943).
Danseur et chorégraphe et pédagogue français.
Né en Algérie, il s'initie à la danse à Paris (Diane Blake, Myriam Berns) et à Londres; il danse chez K. *Waehner, M. *Caserta ainsi qu'à l'étranger, puis fonde sa compagnie en 1980. Primé à *Bagnolet, il crée une trentaine de pièces. Bien qu'il n'ait jamais étudié à New York, son travail, influencé par la pensée de J. *Cage, s'appuie sur les notions de temps et d'interdépendance, et règle avec rigueur des mouvements dont la verticalité ou la courbure s'ajustent parfaitement à ses danseurs (Chroniques, 1982). Il est praticien de la notation *Benesh. Un sens discret de l'humour intervient dans ses pièces ludiques donnant une large part aux échanges entre danseurs (Pièces détachées, 1980). Il dissout sa compagnie en 1985.
LB
Georges POMIÈS (1902-1933).
Chanteur et danseur français.
Après des études scientifiques, il commence une carrière de chanteur de music-hall puis de danseur, mêlant parodies, blues et charleston. Poussé par G. Baty et Ch. Dullin, il participe à des matinées en dansant sur la musique de Jean Wiener ou même sans musique (Rugby, Tennis, Boxe, 1930). Il donne ensuite des récitals avec Lisa *Duncan : Tango (1931) ; Nostalgie (mus. *Albéniz), la Dernière Nymphe (1932, mus. *Gluck).
Sa partenaire dira de lui : " Ses mouvements, pas, sauts, culbutes, élans, hésitations avaient une fantaisie, une spontanéité, une insouciance, un abandon de soi jamais réalisés. [...] Danser pour Pomiès n'était pas réussir des pas difficiles mais réhabiliter l'homme [..]. C'était aussi mettre le feu à toutes les idées bourgeoises de notre époque. " Acteur de cinéma, pédagogue, critique (l'Intransigeant, Paris-Soir, Esprit), il écrit des articles sur la danse et un essai : la Bonne Nouvelle (1928).
LB
Bibliographie. Danser c'est vivre, Georges Pomiès (ouvr. coll.), Pierre Tisné, Paris, 1939.
Jean-Pierre Ponnelle (1932-1988).
Scénographe et metteur en scène français.
Jeune peintre, il rencontre H.-W. *Henze pendant ses études à la Sorbonne (Paris) et crée ses premiers décors pour les ballets composés par celui-ci (Jack Pudding, 1950, Edgar von Pelchrzim ; Pas d'action, 1952, V. *Gsovski ; l'Idiot, 1952, T. *Gsovska). S'orientant par la suite vers l'opéra, où ses mises en scène et scénographies sont appréciées comme formant une entité, il signe ses ultimes décors pour le ballet en 1962 (*Castor et Pollux, K. *Jooss, à *Essen).
MW
Autres collaborations. Gsovska (Der Rote Mantel, 1954, Berlin ; Der *Mohr von Venedig, 1956 ; *Medusa, 1958 ; Agon, 1958 ; Joan von Zarissa, 1958) ; *Etchevery (le *Mandarin merveilleux, 1955, Venise) ; Franco Mannini (Mario et le Magicien, 1958) ; Heinz Blank (*Don Quichotte, 1957, Hamburg) ; H. *Rosen (la Légende de *Joseph, 1958, Munich) ; *Beriozoff (le *Lac des cygnes, 1960, Stuttgart) ; Werner Ulbrich (*Undine, 1961, Düsseldorf). Bibliographie. Ponnelle à Münich 1952-1988, catalogue de l'exposition du Nationaltheater de Munich, Munich, 1991.
Evgueni Ponomariov, ou [Ponomarev E. ou P. Yevguenyï ] (1852-1906).
Peintre décorateur russe, spécialiste en costumes.
Attaché à partir de 1887 aux théâtres inpériaux de *Saint-Pétersbourg, il est l'auteur des costumes de la plupart des ballets du *Mariinskï, dont les reprises de la Fille du Pharaon (1885, 1898), la *Sylphide (1892), le *Petit cheval bossu (1895), ainsi que *Casse-Noisette (1892, avec I.Vsevolojski), le *Lac des cygnes (1895), la Halte de cavalerie (1896) et au théâtre de l'Ermitage en 1900 : les Ruses d'amour, les *Saisons, les Élèves de Dupré, les Millions d'Arlequin.
ESou
Vladimir Ponomariov, ou [Ponomarev V. ] (1892-1951).
Danseur, chorégraphe et pédagogue russe.
Formé à l'École théâtrale de *Saint-Pétersbourg, il danse au *Mariinski à partir de 1910, surtout dans des pas de deux (les *Sylphides, l'Oiseau bleu dans la *Belle au bois dormant) ou des variations ainsi que dans les rôles de l'Esclave (les Nuits égyptiennes, M. *Fokine) ou d'Arlequin (*Carnaval, Fokine). Il commence à enseigner dès 1913, devenant un des plus célèbres professeurs de danse masculine de l'École de Leningrad où il compte parmi ses élèves A.*Ermolaïev, C. *Sergueïev, V. *Tchaboukiani, V. *Grigorovitch. Il est également un expert en reprise des ballets du XIXe s. ainsi que de ceux de Fokine.
ESou
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