En 1988, K. *Vernon prend la direction de ce qui devient alors le Ballet national de Bavière, poste auquel elle est remplacée en 1998 par I. *Liska, qui assurait déjà la direction par intérim depuis deux saisons. Le répertoire de la compagnie compte aussi bien des grands classiques, comme le *Lac des cygnes, Giselle, la *Belle au bois dormant, la *Bayadère, la *Fille mal gardée ou la *Sylphide, que des œuvres modernes ou contemporaines de G. *Balanchine, J. *Neumeier, J. *Kylián, H. *Van Manen, L. *Childs, T. *Tharp, M. *Ek notamment. Des soirées sont régulièrement consacrées à de jeunes chorégraphes souvent issus des rangs de la compagnie, tels Youri Vamos, Ference Barbey ou, plus récemment, Patrick Teschner et Davide Bombana.
BvJ
Bibliographie. B. Wagner-Bergelt (éd.), Bayerisches Staatsballett Company, ? ? ? ? ? ?, Munich, 1993-1994 et 1997-1998.
Joseph Bayer (1852-1913).
Chef d'orchestre et compositeur autrichien.
Il étudie au conservatoire de Vienne. Nommé violoniste dans l'orchestre de la cour en 1870, il devient directeur du ballet du Hofoper de *Vienne en 1885 et le restera jusqu'à sa retraite. On lui doit surtout le ballet la Poupée magique (1894, J.*Hassreiter ; autres vers. N. *Legat, 1903 ; K. *Lanner, 1905 ; I. *Clustine, 1914 ; A. von *Milloss, 1933 ; C. *Littlefield, 1935), ainsi que des musiques pour un *Cendrillon (1908, Hassreiter).
SZ
Nadine BAYLIS (1940) .
Scénographe et costumière britannique.
Formée à l'École centrale des arts et du dessin de Londres, elle commence en 1965 sa carrière de scénographe avec le Ballet *Rambert (Realms of Choice, N. *Morrice). Grâce à cette collaboration, elle participe à l'émergence d'un ballet *moderne où la danse est traitée de façon plus nette et plus directe. Elle conçoit une scène dépouillée au style austère et sculptural et choisit des matériaux nouveaux tels que l'acier, le chrome et le Plexiglas. Pour Hazard (1967, Morrice), elle invente un espace ensoleillé par des plaques métalliques dorées, comprenant au milieu trois structures, à l'intérieur desquelles le danseur fait l'expérience du monde et de son horreur. La précision géométrique de ses scénographies s'accorde particulièrement aux chorégraphies de C. *Bruce (...For This Who Die As Cattle, 1972 ; Black Angels, 1976 ; Symphonie en trois mouvements, 1989) ou Morrice (Blind Sight, 1969 ; That Is the Show, 1971), mais c'est surtout avec G. *Tetley qu'elle entretient sa plus longue et fructueuse collaboration. Dès 1967, ils connaissent un premier succès avec *Ziggurat, qui devient une référence du Ballet Rambert. N'hésitant jamais à varier ses inspirations en fonction des créations, elle surprend le public par l'aspect expérimental de ses scénographies, mais sait aussi le séduire par ses costumes (Alice, 1986, Tetley, Ballet national du *Canada). Dans les années 1980, sa liberté de ton trouve un écho dans les grands théâtres (Royal Opera de Londres, Opéra de *Paris), auxquels elle accède en compagnie de Tetley. Elle collabore encore avec lui pour *Orpheus (1987, *Australian Ballet) et Oracle (1994, Ballet national du Canada).
VR
Sylvia Bazilis (née en 1953).
Danseuse et pédagogue argentine.
Elle étudie à l'Instituto del *Teatro Colón avec Gloria Kazda pour principal maître. En 1973, elle rejoint la compagnie dont elle est primera bailarina de 1977 à 1994. Interprète de grand lyrisme, elle est à l'aise dans les styles les plus divers. P. *Lacotte lui confie le rôle-titre de la *Sylphide et celui de la *Fille du Danube, et Enrique Martínez la choisit pour son *Coppélia. Elle interprète *Roméo et Juliette dans les versions de G. *Skibine, V. *Biagi et K. *MacMillan, de même qu'*Onéguine de J. *Cranko. Elle danse avec A. *Godounov et Konstantin Zaklinski, ainsi que dans Giselle auprès de V. *Vassiliev, et forme avec R. *Candal un des couples les plus harmonieux du ballet argentin. En 1993, elle dirige le Ballet du Teatro Colón.
AF
BCB.
Voir Barcelone (Ballet contemporain de).
BMdF
Tandy BEAL (née en 1948).
Chorégraphe, danseuse et pédagogue américaine.
Élève d'A. *Nikolais et M. *Louis, dont elle est l'interprète en 1971, elle s'installe en Californie et se produit en solo ou avec sa compagnie fondée dès 1972. Artiste invitée entre 1985 et 1989 par C. *Carlson, l'Atlanta Ballet, *Momix, R. *Charlip, entre autres, elle dirige, depuis 1992, le New Pickle Circus. Éclectique, elle signe plus de cent œuvres, imprégnant danse, opéra, cinéma et cirque de poésie et de son sens théâtral, collaborant également avec Frank Zappa, Bobby McFerrin (Emmy Award pour Voice/Dance en 1986) ou J. *Adams. Pédagogue très sollicitée, elle a reçu le National Choreography Award.
ML
Chorégraphies. Crazy Jane (1977) ; *Casse-Noisette (1982) ; The Time Falling Bodies Take to Light (1987) ; Outside Blake's Window (1991) ; NightLife (1992) ; A Wing and a Prayer (1997).
Cecil BEATON (1904-1980).
Photographe et décorateur britannique.
Principalement connu pour son œuvre photographique, dont l'élégance glacée représente un des sommets du modern style, il travaille aussi pour la publicité et comme décorateur pour la danse. À partir de 1929, ses recherches tendent à une exubérance tempérée d'une pointe de modernisme. Il oppose toujours la lisse abstraction d'un visage ou d'un corps à un motif stylisé et décoratif. Sa fascination pour les jeux de l'imaginaire le prédispose à explorer la veine surréaliste qui donne à ses décors une profondeur étrange. Il signe également des costumes pour des comédies musicales (*My Fair Lady, 1956 ; Coco, 1970, M. *Bennett) et des films (Gigi, 197X, réal. V. *Minnelli).
CD
Autres collaborations. *Ashton (*Apparitions, 1936 ; les *Patineurs, 1937 ; Sirènes, 1946 ; Illuminations, 1950 ; *Casse-Noisette, 1951 ; Picnic at Tintagel, 1952 ; Maguerite et Armand, 1963) ; *Lichine (Pavillon, 1936) ; *Taras (Devoirs de vacances, 1949) ; *Balanchine (le *Lac des cygnes, 1951).
Talley BEATTY (1918-1995).
Danseur et chorégraphe américain.
Né dans une famille nombreuse en Louisiane, il se forme auprès de K. *Dunham dans les années 1930, avant de devenir danseur principal de sa compagnie. Incarnant le prêtre dans *Yanvalou (1937), le mari jaloux dans Rara Tonga (1942) et l'initié dans Rites de passage (1941), il est applaudi pour sa technique et son talent expressif subtil et intense. Il se produit également sur *Broadway, notamment dans Pins and Needles (1939, K. *Dunham) et *Cabin in the Sky (1940, Dunham et G. *Balanchine). Il continue à se former auprès de M. *Graham et à la *School of American Ballet, tout en se produisant en artiste invité dans Blackface (1947) de L. *Christensen pour la *Ballet Society et dans le film expérimental de Maya Deren, A Study in Choreography for the Camera (1945). Il enseigne par ailleurs régulièrement à l'école Dunham.
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