George SKIBINE, [S. Youri, dit ] (1920-1981). (suite)
Danseur élancé et élégant, son charisme et son sens du jeu dramatique le prédestinent à jouer les princes du répertoire classique, et plus généralement aux rôles romantiques qu'il incarne avec poésie. Interprète de L. *Massine, dont il crée la Septième Symphonie (1938) et Aleko (1942), il chorégraphie bon nombre d'œuvres le mettant en vedette avec sa partenaire et épouse Marjorie *Tallchief (Annabel Lee, 1951 ; Idylle, 1954 ; le *Prisonnier du Caucase, 1954 ; le Prince du désert, mus. J.-M. *Damase, 1955 ; Roméo et Juliette, en collaboration avec S. *Golovine, V. *Skouratoff et J. *Taras, mus. H. *Berlioz, 1955 ; Concerto, mus. A. *Jolivet, 1957). Ses ballets sont réglés à la manière de M. *Fokine, S. *Lifar et Massine, dans un style néoclassique privilégiant l'harmonie des lignes.
NL, GP
Autres chorégraphies. Tragédie à Vérone (1950, mus. P. *Tchaïkovski, B. du marquis de Cuevas) ; *Daphnis et Chloé (1959, Op. de Paris) ; la Péri , 1966 (mus. P. *Dukas, Op. de Paris) ; la Légende des cerfs (1970, mus. B. *Bartók, Ballet Théâtre Contemporain) ; Roméo et Juliette (1977, mus. S. *Prokofiev, Ballet royal de Wallonie).
Irène SKORIK (née en 1928).
Danseuse et pédagogue française.
Élève de C. *Zambelli, O. *Preobrajenska, V. *Gsovski et Y. *Brieux, elle révèle son talent précoce en 1944 dans un récital au théâtre Sarah-Bernhardt à Paris, puis aux *Ballets des Champs-Élysées (1945-1950), où elle crée, entre autres, *Jeu de cartes (1945, J. *Charrat), Déjeuner sur l'herbe (1945) et les Amours de Jupiter (1946) de R. *Petit, le Peintre et son modèle (1949, L. *Massine). Elle danse en tant qu'*étoile à l'Opéra de *Munich (1950-1952) créant Hamlet, Cendrillon, Chemin de lumière de Victor Gsovski, dans diverses compagnies de 1953 à 1959, et au Ballet de *Bâle (1960-1965). Depuis 1971 elle se consacre à l'enseignement.
GP
Vera SKORONEL, [ndn. Lämmel V. ] (1906-1932).
Danseuse et chorégraphe suisse.
Elle étudie auprès de R. *Laban et S. *Perrotet à Zurich, à l'école Loheland et avec M. *Wigman. En 1924, âgée de 18 ans, elle dirige déjà une école et est maître de ballet à Oberhausen, où elle signe ses premiers succès : Der Kriegerrythmus, Das Quadrat, Das schwingend sanfte Lied et Tanzspiel. À partir de 1926, elle dirige une école à Berlin avec Berthe Trümpy et présente son premier spectacle solo en 1927, avec notamment Die Formel. Artiste radicale, pressentie pour remplacer Wigman dans *Totenmal en 1930, sa mort précoce empêche l'épanouissement d'un talent jugé prometteur par ses danses innovantes, aux formes angulaires et aux rythmes surprenants.
MF
Vladimir SKOURATOFF (né en 1925).
Danseur et maître de ballet français d'origine russe.
Élève à Paris d'O. *Preobrajenska, A. *Volinine et B. Kniasseff. Partenaire de Z. *Jeanmaire, il rejoint le Nouveau Ballet de *Monte Carlo (1946), l'Original *Ballet Russe (1947) et les Ballets de Paris (1948). Il se produit en tournée avec Y. *Chauviré et T. *Toumanova, puis aux Ballets des Champs-Élysées (1951). Soliste du Grand Ballet du marquis de *Cuevas (1952-1957), où il s'essaye à la chorégraphie, il est ensuite invité par diverses compagnies. Il devient professeur et *maître de ballet du Grand Théâtre de *Genève (1964), de l'Opéra de Strasbourg (1966-1968) et du Grand Théâtre de Bordeaux (1970-1990). Son dynamisme et son tempérament dramatique en font un remarquable interprète des rôles de composition qu'il crée (dans Chota Roustaveli, 1946, S. *Lifar ; 'Adame Miroir, 1948, J. *Charrat ; Piège de lumière, 1952, J. *Taras ; la Tertulia, 1952, Ana Ricarda) ou reprend (dans les *Danses polovtsiennes et le *Prisonnier du Caucase).
GP
Mia SLAVENSKA, [ndn. Corak M. ] (née en 1916).
Danseuse et pédagogue américaine d'origine yougoslave.
Elle est formée à la danse classique à Zagreb, Vienne et Paris ainsi qu'à la danse moderne avec G. *Kraus à Vienne (1928-1930). Elle débute enfant à l'Opéra de Zagreb dont elle devient soliste (1931-1933), poursuit sa carrière à l'*Opéra russe à Paris (1934-1935) et au *Ballet russe de Monte-Carlo (1938-1942). Installée aux États-Unis en 1942, devenue citoyenne américaine en 1947, elle se produit avec ses propres groupes (Slavenska Company, 1944-1945 ; Ballet Variante, 1947-1952 ; Slavenska-*Franklin Ballet, 1952-1955) et en invitée dans de nombreuses compagnies. Elle dirige le Louisville Ballet (1954-1958) puis le Fort Worth Civic Ballet (1958-1960) et enseigne à Dallas, New York et Los Angeles. Possédant d'exceptionnelles qualités de souplesse et d'aplomb (*David triomphant, S. *Lifar), elle brille dans le grand répertoire et fait montre de son talent dramatique en campant magistralement Blanche Dubois dans Un tramway nommé désir (1952, V. *Bettis).
NL
Youri Slonimski (1902-1978).
Historien de danse et librettiste russe.
Chroniqueur dans les journaux à partir de 1919, il mène ensuite des recherches importantes pour l'histoire du ballet en Russie qui le conduisent à publier les archives de I. *Valberkh (1940) et de A. *Glouchkovski (1948), des ouvrages consacrés à C. L. *Didelot (1958), aux ballets de P. *Tchaïkovski (1956), à la relation de A. *Pouchkine au ballet (1974). Auteur lui-même de nombreux livrets (dont dix ont été portés à la scène), il consacre également un livre à ce sujet en 1977. Comme critique, il prend part aux discussions sur l'avenir du ballet en Russie, soutenant les réformes engagées à la fin des années 1950. Il est l'auteur de mémoires Tchoudesnoie bylo riadom s nami (Le merveilleux était près de nous, Leningrad, 1981).
ESou
Livrets. La Veillée de Noël (1938, Vladimir Varkovitski) ; le Rossignol (1939, A. *Yermolaïev et F. *Lopoukhov) ; le Conte du Pope et son serviteur Balda (1940, Varkovitski) ; le Conte du printemps (1947, Lopoukhov) ; les Sept Belles (1952, P. *Goussev) ; le Sentier du tonnere (1958, C. *Sergueïev) ; *Icarus (1971, V. *Vassiliev ; 1974, I.*Belski).
Jimmy SLYDE (né en 193X).
Danseur américain.
Il étudie les *claquettes à Boston dans les années 1940 et, très tôt, il apprend à glisser et à incorporer ces évolutions à sa danse. Il fait alors équipe avec Jimmy Mitchell surnommé curieusement " Sir Slyde " et leur duo, les Slyde Brothers, se produit avec les grands orchestres jazz dans les night-clubs et les théâtres américains. Son style particulier se caractérise par une grande musicalité et une certaine poésie.
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