Durant toute sa vie Saint-Léon se montre un artiste exigeant conjuguant avec talent réflexion théorique et expérience pratique. En tant que musicien il est conscient de l'importance de la qualité de la partition musicale d'un ballet. Si C. *Pugni est son musicien attitré pour la plupart de ses chorégraphies, c'est le nom de L. *Delibes, compositeur de Coppélia, qui restera surtout associé au sien. Par le dialogue fécond qu'il entreprend avec ce dernier, relayé par une correspondance abondante, Saint-Léon instaure une nouvelle relation entre compositeur et chorégraphe, fondée sur une collaboration étroite, dont s'inspirera plus tard M. *Petipa. Il s'ensuit une œuvre musicale puissante qui, tout en servant fidèlement l'argument chorégraphique, garde sa valeur intrinsèque. Ainsi, à une époque où la musique de ballet est dévalorisée, Saint-Léon crée le ballet *symphonique dont la partition peut, selon le critique musical É. Vuillermoz, " passer sans dommage du théâtre au concert ". L'intérêt qu'il accorde à la musique est à l'origine d'une nouvelle approche de la *notation du mouvement développée par lui dans son traité Sténochorégraphie (Paris, 1852). S'étant servi d'un extrait de la Vivandière pour illustrer son propos, Saint-Léon nous lègue en guise d'héritage un aperçu de son art chorégraphique d'une grande complexité non dénuée de finesse et de fraîcheur. Par ailleurs, loin de rejeter les innovations, fussent-elles le produit des " nos Trénitz modernes, Brididi, Rigolette et Rose Pompon ", jeunes danseuses de ce qui deviendra par la suite le *cancan, il pressent dans leur " caprice chorégraphique " la naissance d'un " nouveau genre de caractère ", comme il l'écrit dans un opuscule, De l'état actuel de la danse (Progresso, Lisbonne, 1856). Cette ouverture d'esprit est aussi la marque d'un grand talent.
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Michel SAINT-LÉON (1XXX-1XXX).
Maître de ballet et professeur français.
Père d'A. *Saint-Léon, il fait l'essentiel de sa carrière en Allemagne, d'abord à Wurtemberg en qualité de *maître à danser des princesses royales et plus tard à Stuttgart comme *maître de ballet. Par leur richesse et leur complexité, les trois Cahiers d'exercices (ms fr. 1829-1831) élaborés à l'intention de ses élèves princières, témoignent du niveau très élevé de la danse pour amateurs au moment de l'éclosion du nouveau style immortalisé par M. *Taglioni. Si la gloire du fils a éclipsé en son temps l'œuvre pédagogique du père, celle-ci, par sa valeur indéniable, intéresse aujourd'hui chercheurs et professionnels de la danse qui, à l'exemple de J. *Guizerix, tentent d'en déjouer les difficultés techniques.
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(École de danse de) Saint-Pétersbourg.
Elle a pour lointain ancêtre la classe de danse ouverte en 1738 par J.-B. *Landé. En 1779, les écoles de danse, de musique, d'art dramatique et de peinture de la ville sont réunies pour former l'École de théâtre impériale où danse et art dramatique co-existent jusqu'au début du XXe siècle. Dotée d'un internat, elle forme tous les danseurs du *Mariinski qui y reçoivent une éducation complète. Les professeurs les plus importants, tant d'origine française (dont C. L. *Didelot et M. *Petipa) que russe (dont I. *Valberkh, N. *Legat, V. *Ponamariov, A. *Pouchkine, A. *Vaganova), y enseignent et des chorégraphes (dont M. *Fokine) viennent y monter des ballets pour les spectacles d'élèves. Devenue Ecole de danse après la Révolution de 1917, elle accueille pendant les années 1930-1980 des enfants (souvent venus en groupe d'une même république) de toutes les villes d'Union soviétique ayant le projet de créer une compagnie de ballet. En 1991, elle prend le nom d'Académie de danse russe Vaganova (Akademiya ruskogo baleta imeni A. Ya. Vagnovoï).
ESou
(Faculté de chorégraphie de) Saint-Pétersbourg.
Département du Conservatoire Rimski-Korsakov de Saint-Pétersbourg.
En 1962, Lopoukhov crée une Chaire de mise en scène de ballet au sein de la Faculté de mise en scène de théâtre musical du Conservatoire de Saint-Pétersbourg. Ce département est ensuite dirigé par P. *Goussev (1966-1983) et depuis 1983 par N. *Dolgouchine. A partir de 1966, il comprend aussi une section de répétiteurs de ballet et depuis 1988, une section d'historiens et de critiques. Parmi les professeurs successifs figurent I. *Belski, L. *Yakobson, C. *Sergueïev, O. *Vinogradov ainsi que G. Alexidzé et N. *Boyarchikov, tous deux membres de la première promotion sortie en 1966. Y ont également étudié B. *Eifman, V. *Elisariev, Genryk Maïorov parmi d'autres venant de Russie et de toutes les républiques d'Union soviétique.
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(Théâtre d'opéra et de ballet M. P. Moussorgski de) Saint-Pétersbourg.
Théâtre lyrique de Saint-Pétersbourg, disposant d'un corps de ballet.
Installé en 1918 dans le bâtiment du théâtre Mikhaïlovski, d'abord comme théâtre d'opéra-comique, il change plusieurs fois de nom, le plus connu étant celui qu'il porte de 1926 à 1964 : Maly Gosoudarstvenny Operny Teatr [Petit Théâtre d'opéra d'État], souvent abrégé en *Malegot ou encore en *Maly. La compagnie de ballet date des années 1920, mais c'est dans les années 1930 qu'elle devient importante sous l'action de F. *Lopoukhov qui monte *Arlequinade (1934), *Clair ruisseau (1935, mus. *Chostakovitch). Elle se spécialise alors dans les ballets comiques et les spectacles de tendance moderne : les grands classiques traditionnels ne figurent pas à son répertoire. De nombreux chorégraphes se succèdent à sa tête : L. *Lavrovski (1935-1938) reprend Fadette et crée le *Prisonnier du Caucase (1938) ; Vladimir Varkovitski règle le Conte du pope et son serviteur Balda (1940, mus. M. Tchoulaki) d'après A. *Pouchkine ; Boris Fenster (1945-1953) signe le Faux Fiancé (1946, mus. Tchoulaki) d'après C. *Goldoni et la Jeunesse (1949, mus. Tchoulaki) ; I. *Belski (1962-1973) crée une nouvelle version du *Petit Cheval bossu (1963) et la Onzième Symphonie (1966, mus. D. *Chostakovitch) ; O. *Vinogradov (1973-1977) signe Yaroslavna (1974). Aux principaux danseurs des années 1930-1940 (Zinaïda Vassilieva, Galina Kirillova, Galina Issaïeva, etc.) succèdent, dans les années 1950-1960, Ludmila Kamilova, Larissa Klimova, V. *Panov, etc. À partir de 1977, la compagnie est dirigée par N. *Boyartchikov qui signe presque toutes les créations (Tsar Boris, 1975 ; les Brigands, 1982 ; *Macbeth, 1984 ; Pétersbourg, 1992 ; etc.) avec des danseurs tels Tamara Statkoun, Anna Linnik, Guennadi Soudakov.
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