Sa collaboration avec L. *Massine donne lieu à l'un des plus durables succès des *Ballets russes, la *Boutique fantasque (1919, d'apr. *Rossini), et se poursuit avec Le Astuzie Femminili (1920) et Belchis, regina di Saba (1932). Entre-temps, il compose La Pentola magica, Scherzo Veneziano o le Astuzie di Colombina et Sèvres de la vieille France, ballets créés à Rome en 1920 par Ileana Leonidov. Il réserve une place pour la danse dans sa fable musicale la *Belle au bois dormant (1922-1934). Sa transcription pour orchestre de la Passacaille de J.-S. *Bach sera utilisée par R. *Petit dans le *Jeune Homme et la Mort (1941) et par M. *Wallmann dans Passacaglia (1948). Gli Uccelli inspirera C. *Fornaroli (1933) et B. *Romanov (1937) et Arie antiche e danze per liuto, Wallmann (1937), A. *Milloss (1938) et E. *Hanka (1940).
JS
Sur la musique de Respighi. N de *Valois (Suite vénitienne, 1928) ; R. *Page (Rustic Saint's Day, 1933) ; A. *De Mille (Three Virgins and the Devil, 1934) ; Milloss (Riflessi nell'oblio, 1952), N. *Poli (Le fontane di Roma, 1941) ; R. *Helpmann (The Birds, 1942) ; Wallmann (I Pini di Roma, 1946) ; M. *Somes (Summer interlude, 1950).
Rosa REYNA (née en 1924).
Danseuse, chorégraphe et pédagogue mexicaine.
Elle débute en 1939, dans la compagnie La Paloma Azul d'A. *Sokolow. Elle étudie avec M. *Graham, M. *Cunningham, A. *Nikolais et A. *Ailey. Son style ardent et expansif est remarqué par J. *Limón qui la choisit comme partenaire dans Antigone (1951). Soliste d'une grande virtuosité technique, aux émotions débordantes, elle donne toute leur ampleur à des œuvres comme La Balada de la luna y el venado (1949, A. *Merida), Fecundidad (1949, G. *Keys Arena) ou encore La Manda (1950) qu'elle signe pour sa propre compagnie. Protagoniste de la danse *moderne mexicaine, elle enseigne l'improvisation et la composition chorégraphique dans différentes écoles du pays et contribue à la formation de la génération *contemporaine.
IC
Anne-Marie REYNAUD (née en1945).
Danseuse et chorégraphe française.
Initiée à la danse à l'École I. *Popard, puis M. *Graham (Londres), elle entre en 1973 aux Ballets de la Cité de C. *Atlani puis, en 1974, au *GRTOP, interprétant les ballets de C. *Carlson. En 1976, elle fonde, avec Odile Azagury, le Four solaire : On le raconte rue Biloko (1978), Casablanca (1980), Trompe-cœur (1984). Implantée à Nevers (1985), la compagnie, devenue *CCN en 1989, crée Amonita (1991), la Création du monde (1992). Chargée de la programmation du festival Île de Danse , dans la région parisienne, en 1995, elle est responsable de la pédagogie au *CND à partir de 1998.
LB
Autres chorégraphies. Nom Prénom (1976) ; Bistro ! (1993) ; Carmen (1993, m. en sc. et chor.).
Debbie REYNOLDS (née en 1932).
Actrice américaine.
Elle entre à la *MGM après avoir été élue Miss Burbank. Sa jeunesse et son exubérance font d'elle la vedette parfaite des *comédies musicales de la firme du lion. Elle personnifie Helen Kane dans Trois Petits Mots (1950) de Richard Thorpe, puis est l'héroïne de *Give a Girl a Break (1954), Athena (1954), Hit the Deck (1955) et surtout de *Singin' in the Rain en 1952. Opposée à Frank Sinatra (The Tender Trap, 1955), interprète de Molly Brown dans la Reine du Colorado (1964) de Ch. *Walters, elle se tourne ensuite vers *Broadway et la télévision.
PBr
Bibliographie. D. Reynolds et Bob Thomas, If I knew them, Random House, New York, 1962.
Tatiana RIABOUCHINSKA (née en 1917).
Danseuse russe.
Formée à Paris par M. *Kschessinska et A. *Volinine, c'est l'une des « baby ballerinas » engagées en 1932 aux *Ballets russes de Monte-Carlo. Elle danse avec les *Ballets russes du colonel de *Basil jusqu'en 1942, puis se produit avec le *Ballet Theatre, l'*Original Ballet Russe, les *Ballets des Champs-Élysées, le Grand Ballet de *Monte-Carlo et le *London Festival Ballet. Elle fonde en 1953 le Los Angeles Ballet avec D. *Lichine et enseigne à Beverly Hills. Interprète de L. *Massine (*Jeux d'enfants, les *Présages), M. *Fokine et Lichine (*Graduation Ball), elle subjugue par son extrême légèreté, ses admirables ports de bras et une poétique musicalité.
NL
Paulo RIBEIRO (né en 1959).
Danseur et chorégraphe portugais.
D'abord interprète au Ballet contemporain de Bruxelles et dans des compagnies françaises, il signe ses premières pièces de retour au Portugal, en 1987, notamment pour le *Ballet Gulbenkian, crée une compagnie avec la danseuse Clara Andermatt, s'intéresse à la culture cap-verdienne et collabore au spectacle Fados (19XX) de Ricardo País. Sa danse, virile, est sous-tendue par une « sauvagerie inspiratrice ».
JMA
Maria-José RIBOT (née en 1962).
Danseuse et chorégraphe espagnole.
Après une formation en danse classique et contemporaine, elle fonde avec Blanca Calvo, à Madrid, en 1986, la compagnie Bocanada Danza, puis se singularise, à partir de 1990, par des propositions proches d'un esprit de *performance. Compositions minimales, ses Piezas distinguidas sont de courtes chorégraphies drôles et alertes, sortes de « poèmes mobiles », vendus à des acquéreurs comme s'il s'agissait de tableaux ou de sculptures.
JMA
Gustave RICAUX (1884-1961).
Danseur et pédagogue français.
Formé à l'École de l'Opéra de *Paris, où il fait une carrière de *premier danseur, il se distingue par sa virtuosité et sa grande *élévation. Il crée de nombreux rôles et interprète celui de Dorcon dans *Daphnis et Chloé de M. *Fokine en 1921. Il est le partenaire d'O. *Spessivtseva, notamment dans *Soir de fête (1925) et *Giselle (1926), puis de Camille Bos et S. *Lorcia. Enseignant dès 1931 à l'Opéra, il ouvre aussi sa propre école. Remarquable professeur pour la danse académique masculine, il forme de nombreux élèves, dont S. *Peretti, P. *Goubé, Y. *Brieux, R. *Petit, J. *Babilée, M. *Renault.
GP
Angelo Ricci (fin XVIe s.-déb. XVIIe s.).
Danseur et maître à danser italien.
Il travaille à Florence à la cour des Médicis. Valet de chambre et maître de ballet de Cosme II de 1590 à 1621, par qui il est largement rétribué, il est l'auteur estimé d'une bonne partie des ballets théâtraux, balli da camera (petits bals informels dans des appartements privés), ballets à cheval, intermèdes et mascarades réalisés à Florence durant près de quarante ans.
MN
Thomas Dartmouth RICE, [Daddy Jim Crow Rice ] (1808-1860).
Danseur et comédien américain
Après un apprentissage de sculpture sur bois, il consacre entièrement sa vie au théâtre. Il fait ses débuts d'artiste à Louisville en se produisant en *blackface. Vers 1828, il devient une figure historique de la musique populaire américaine avec son fameux numéro de «Jim Crow». Impressionné, paraît-il, par le comportement d'un vieil esclave noir, estropié et déformé, qui chantait et dansait tout en travaillant aux écuries, il décide d'en introduire les mouvements et la chanson dans une *routine originale, et d'adopter une tenue similaire : pantalons rapiécés, chapeau à large bord porté de guingois, chaussures délacées aux semelles trouées. La danse qu'il crée, le jump Jim Crow, emporte un succès si extraordinaire qu'il la produit à New York en 1833 et à Londres en 1836. À cette date, une multitude d'imitateurs s'est déjà emparée du personnage et le présente dans toute l'Amérique. Atteint de paralysie en 1850, il meurt dans la pauvreté et la solitude. En créant le premier des personnage noirs stéréotypés il ouvre la voie aux *minstrels shows et à l'exploitation de la musique et de la danse noire. Son Jim Crow marquera la scène et le langage américain d'une expression frappante et durable, synonyme de ségrégation et discrimination.
ESe
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