Ruth SAINT DENIS, [DENNIS Ruth, dite ] (1879-1968). (suite)
La création étant toujours prioritaire chez elle, sa contribution pédagogique majeure consiste à expérimenter la music visualization au sein du Denishawn. Cette forme de transcription de la musique symphonique en mouvement, inspirée de la danse *libre de. Duncan et de l'enseignement d'É. *Jaques-Dalcroze, aura un fort impact sur la génération de ses élèves (D. *Humphrey, M. *Graham). Danseuse instinctive, elle conçoit et interprète ses innombrables solos, grâce à ses dons remarquables d'improvisation. Son charisme scénique, qui brille pendant près de soixante-dix ans, attire le public et subjugue les futurs danseurs. Saint Denis est la première à ouvrir une voie pour la danse moderne aux États-Unis, cadre presque exclusif de sa longue carrière.
MDS
Autres chorégraphies. Egypta (1910) ; The Peacock (1914) ; White Jade (1926) ; Dance of the Black and Gold Sari (1928) ; The Lamp (1928) ; Angkor Vat (1930) ; The Prophetess (1931). Bibliographie. R. Saint Denis, An Unfinished Life, éditeur? ? ? ?, New York, 1939. - C. Schlundt, The Professional Appearances of R. Saint Denis and T. Shawn : A Chronology and Index of Dances, 1906-1932, éditeur? ? ? ?, New York, 1962 ; T. Shawn, R. Saint Denis : Pioneer and Prophet, éditeur? ? ? ?, San Francisco, 1920 ; S. Shelton, Divine Dancer : A Biography of R. St. Denis, Garden City, New York, 1981. Filmographie. The History of Modern Dance, éditions à voir? ? ? ?, 1996 ; Émile Ardolino, Trailblazers of Modern Dance, 60 min., 1977.
Yves SAINT LAURENT (né en 1936).
Créateur de mode et décorateur.
Il se fait connaître en 1954 comme assistant de Christian Dior par la sûreté et l'originalité de ses dessins. Il succède à Dior en 1957 et fonde en 1962 sa propre maison, qui devient célèbre internationalement et reste le symbole de l'élégance pure et du raffinement. En 1959, Cyrano de Bergerac marque le début d'une longue collaboration avec R. *Petit : il signe ainsi les costumes de nombreux ballets, dont Adage et Variations (1965), *Notre-Dame de Paris (1965), *Turangalîla (1968), ainsi que des décors, notamment pour la Silla, Gourmandise (1963) et Schéhérazade (1974), et collabore aux shows de Zizi *Jeanmaire (Mon truc en plumes, 1961 ; à Chaillot, 1963 ; à l'Olympia, 1968 ; la Revue, 1970 ; Zizi je t'aime, 1972 ; à Bobino, 1977 ; Hollywood Paradise, 1984). Il travaille aussi pour le théâtre (le Mariage de Figaro, 1964, Cie Renaud-Barrault ; Delicate balance, 1967, Edward Albee ; Savannah Bay, 1982, Marguerite Duras) et pour le cinéma (Belle de jour, 1967, réal. Luis Buñuel ; Stavisky, 1974, réal. Alain Resnais).
GM
Jules SAINT-GEORGES, [Vernoy de Saint-Georges Jules-Henri, dit ] (1800-1875).
Auteur dramatique et directeur de théâtre français.
Figure élégante et fortunée du monde du spectacle parisien, réputé pour son mode de vie raffiné, il débute dans la littérature en 1821 avec un roman les Nuits terribles. Il s'essaie dès 1822 à l'écriture théâtrale et devient un auteur à succès de *vaudevilles et d'opéras-comiques. Sur la centaine d'œuvres qu'il produit, la moitié le sont pour l'Opéra-Comique, dont il est codirecteur de 1828 à 1830. Il est l'auteur du premier succès parisien de G. *Donizetti, la Fille du régiment (1840), et collabore en particulier avec Fromental Halévy et A. *Adam, entretenant en outre une correspondance avec ce dernier. Pour l'Opéra de *Paris, il écrit huit œuvres lyriques, mais aussi dix livrets de ballets qui demeurent parmi les plus prestigieux de la période romantique.
Il connaît la réussite dès son premier essai avec la *Gipsy, inaugurant une collaboration suivie avec J. *Mazilier pour lequel il écrit aussi en 1844le *Diable amoureux, et Lady Henriette (mus. Friedrich von Flotow, Frédéric Burgmüller et E. *Deldevez) et, en 1856, le *Corsaire et les Elfes (mus. Nicolo Gabrielli). Son chef-d'œuvre est le livret de *Giselle, pour lequel il travaille en association avec Th. *Gautier : celui-ci rend hommage à son sens dramatique et lui attribue l'idée de la scène de la folie qui clôt l'acte I. Il est également l'auteur du *Papillon (1860), unique chorégraphie de M. *Taglioni.
MFB
Autres livrets. La *Jolie Fille de Gand (1842, A. *Albert, mus. Adam) ; la Filleule des Fées (1849, J. *Perrot, mus. Adam et A. de Saint-Julien) ; la Maschera (1864, G. *Rota, mus. Giorza).
SAINT-HUBERT (mort apr. 1641) .
Théoricien de la danse français.
Il est l'auteur du traité De la manière de composer et faire réussir les ballets (1641 ; rééd critique en fac-sim., Minkoff, 1993). Premier de son genre, cet ouvrage examine les problèmes d'ordre technique que pose l'élaboration d'un ballet et dégage ses caractéristiques principales. Si le nombre des *entrées est déterminant pour classer les ballets en « petits », « beaux » et « grands », la nature du sujet les distingue en *« sérieux » et *« grotesques ». Considérant que les différents composants du genre doivent procéder naturellement les uns des autres, l'auteur établit une hiérarchie en commençant par le sujet puis les airs, les *pas, les habits et enfin les machines qui ne sont que l'« ornement » du ballet. Dans ce traité où la « *belle danse », réservée aux bons danseurs, fait son apparition à la fois comme concept et dénomination, Saint-Hubert insiste sur la notion d'ensemble qui nécessite le présence du « maître d'ordre » chargé de sa coordination.
ERou
Arthur SAINT-LÉON (Paris 1821-1870).
Danseur, chorégraphe, maître de ballet, violoniste et compositeur français.
Il étudie à Stuttgart la musique et la danse ayant comme professeurs Michel, son père et Mayseder qui lui enseigne le violon. Décidé à entamer une double carrière, il fait ses débuts de violoniste à Stuttgart (1834) et de danseur à Munich (1835). Son désir de se perfectionner, l'amène à Paris où pendant un an, de 1837 à 1838, il suit l'enseignement d'A. *Albert avant d'être engagé à Bruxelles en qualité de premier danseur. Commence alors sa brillante carrière internationale qui le mènera dans toutes les capitales européennes de la danse, Turin, Milan, Vienne, Londres. Interprète des ballets de J. *Perrot(la *Esméralda, Ondine) ayant comme partenaire, puis comme épouse (1845-1851) F. *Cerrito, il s'essaie lui-même à la chorégraphie en créant (1844, Op. de *Paris) la *Vivandière. Son coup d'essai se révélant un coup de maître, il enchaîne avec la *Fille de marbre (1847), le *Violon du Diable (1849), Stella ou les Contrebandiers (1850) qui, tous, connaissent un grand succès. Nommé professeur de la classe de perfectionnement à l'École de danse de l'Opéra de Paris, il ne tarde pas à succéder à J. Perrot au poste de *maître de ballet du *Mariinski. À partir de 1859 et pendant dix ans, il partage ainsi son existence entre Paris et Saint-Pétersbourg. Il y crée Graziella ou la Querelle amoureuse (1860), la Perle de Séville (1861), Fiametta (1864, créé en 1863 à Moscou sous le titre la Salamandre), le *Petit Cheval bossu (1864). Nommé maître de ballet à l'Opéra de Paris en 1863 (où il signe, notamment, la *Source, 1866), il le reste jusqu'à sa mort en 1870, trois mois à peine après le triomphe de son dernier ballet et chef-d'œuvre, *Coppélia.
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