Helen TAMIRIS, [BECKER H., dite ] (1903-1966). (suite)
Tamiris part de la conviction que le créateur doit assurer dans la cité la double tâche de mener une réflexion et de proposer un mode d'action. Ses premiers solos (Subconscious, 1927 ; Dance of the City, 1929) révèlent une volonté d'intervention bien ancrée dans la réalité contemporaine, qui trouve sa meilleure expression avec *How Long, Brethren ? (1936) sur des negro spirituals, une des premières tentatives de mettre sur scène la black dance. Malgré cet engagement, sa démarche créative se transpose facilement à l'univers des comédies musicales, grâce à son goût pour la théâtralité. Tamiris laisse sa marque sur ce genre purement américain en y fondant ses différentes composantes (théâtre, musique, danse) et en donnant à la danse un statut égal aux autres (*Annie Get Your Gun et *Show Boat). Toutefois, en renouant avec cette forme de divertissement populaire, elle prête le flanc aux critiques, qui jugent son attitude incompatible avec la mission que les pionniers de la danse moderne se sont assigné à l'époque. En oscillation perpétuelle entre la salle de concerts et la scène de *Broadway, Tamiris laisse aux autres le souci d'inventer de nouvelles techniques, tandis qu'elle défend les droits des danseurs et revendique un statut pour la danse au sein des structures institutionnelles.
MDS
Autres chorégraphies. Nobody Knows de Trouble I See (1928) ; Swing Low, Sweet Chariot (1929) ; Crucifixion (1931) ; Go Down Moses (1932) ; Salut au monde (1937) ; Adelante (1939) ; Up in Central Park (1945) ; Inside USA (1948) ; Plain and Fancy (1955). Bibliographie. H. Tamiris, « Tamiris in Her Own Voice : Draft of an Autobiography », in Studies in Dance History, 1, automne-hiver 1989. Filmographie. Trailblazers of Modern Dance, 1977.
Min TANAKA, [T. Shôji, dit ] (né en 1945).
Danseur et chorégraphe japonais.
Il étudie la danse moderne avec Tomio Hiraoka et Miyako Shiga, deux élèves de Seiko Takada, et danse dans leur compagnie. À partir de 1973, il commence à élaborer son propre style, notamment à travers l'*improvisation. Il se produit en Europe dès 1978 et fonde sa compagnie, Maijuku, en 1981. Parallèlement, de 1982 à 1986, il collabore avec T. *Hijikata, qui chorégraphie pour lui en 1984 le solo Ren-ai Butoh-ha Teiso [Fondation de la danse de l'amour]. En 1985, il fonde la Shintai Kisho Noujo [Ferme de la météorologie du corps] dans le village de Hakushu (province de Yamanashi), où il pratique l'agriculture en même temps que la danse, et organise, à partir de 1988, le festival Artcamp Hakushu, rencontres internationales d'artistes de différentes disciplines. En 1996, il transforme sa compagnie en institution de recherche : le Buyô Shigen Kenkyujo [Laboratoire des ressources de la danse].
Fortement influencé par Hijikata, il considère la danse comme un voyage à l'intérieur de soi-même visant à retrouver l'histoire de l'être humain gravée dans le corps. Dans cette quête d'une mémoire physique perdue en raison des modes de vie actuels, la relation avec les animaux et le cycle naturel des saisons, que permet l'agriculture, constitue pour lui un complément indispensable à l'activité créatrice. Ouvert aux collaborations les plus diverses, il expose cette quête notamment dans Peut-on danser un paysage (1987, Op.-Comique de *Paris), conçu avec le peintre Karel Appel, et dans sa version très personnelle du *Sacre du printemps (1990, Op.-Comique de Paris), dont Richard Serra signe la scénographie.
MG, PLM
Autres chorégraphies. Dance of the Life (1994) ; Conquest of Mexico (1996).
Meryl TANKARD (née en 1955).
Danseuse et chorégraphe australienne.
Elle danse d'abord avec l'*Australian Ballet (1973-1975), avant d'intégrer le Tanztheater de *Wuppertal (1976-1982). De retour en Australie en 1984, elle commence à chorégraphier, tout en se produisant en artiste invitée avec P. *Bausch. En 1989, elle crée sa propre compagnie, puis devient directrice artistique de l'Australian Dance Theater en 1993.
Ses premières créations jouent sur un travail de motifs gestuels et de mouvements de chœur. Elle se tourne ensuite vers des formes plus dansées, se concentrant sur le corps en mouvement à partir de systèmes de suspension par des cordes. Elle collabore très régulièrement avec le photographe-scénographe Regis Lansac, avec qui elle explore la projection d'images sur les corps. Son œuvre, éclectique, théâtrale, comique, est centrée sur les passions humaines.
ATh
Chorégraphies. Echo Point (1984) ; Two Feet (1988) ; Furioso (1993) ; Inuk (1997).
Richard TANNER (né en 1948).
Danseur et chorégraphe américain.
Tout en étudiant à l'université de l'Utah, il se forme auprès de W. *Christensen et rejoint le *Ballet West où il signe très vite ses premières chorégraphies. Invité par G. *Balanchine à monter une pièce pour l'atelier de la *School of American Ballet, il fait alors une brève carrière de danseur au *NYCB. En 1977, il chorégraphie avec P. *MartinsCalcium Light Night, puis devient chorégraphe attitré du NYCB où, bien que loin d'égaler ses collègues, il crée chaque année deux chorégraphies.
MK
Tanzfabrik Berlin.
Centre de danse expérimentale fondé en 1978 à Berlin-Kreutzberg.
Conçu comme une alternative aux institutions allemandes très puissantes, parfois écrasantes, ce lieu se veut un espace de liberté, ouvert à l'enseignement, à la création, aux spectacles et aux performances dans un esprit de perpétuelle recherche.
Les années 1970-1980 voient surgir des initiatives similaires dans d'autres villes allemandes telles la Tanzfabrik Koblenz ou la Werkstatt Düsseldorf devenue aujourd'hui la première «maison de la danse » d'Allemagne officiellement reconnue.
Structurée collectivement, la Tanzfabrik est surtout dirigée par Jacalyn Carley et Dieter Heitkamp, qui s'inscrivent dans le courant *postmoderne. Au début des années 1980, Sygun Schenk et Heidrun Vielhauer, issues de l'École Folkwang d'*Essen, y apportent un style plus théâtral. De leurs productions, collectives ou individuelles, on retiendra la très dadaïste Schwitters Ursonate de 1982.
MIB
Tanzforum Köln.
Collectif chorégraphique allemand, fondé en 1971.
Dans le années 1960, alors qu'il dirige le Ballet de l'Opéra de Cologne, A. *Milloss insuffle un vent nouveau en invitant des chorégraphes tels L. *Massine, M. *Béjart ou B. *Cullberg. Parallèlement, le public assiste aux travaux présentés par les danseurs modernes qui enseignent à l'Académie internationale de danse d'été. Mais les pouvoirs publics cherchent une voie moins coûteuse que les 40 danseurs du ballet de Milloss. Le changement vient de certains danseurs comme J. *Kresnik et J. *Ulrich qui commencent à présenter des œuvres défiant les conventions dans le cadre de soirées d'une association ouverte aux jeunes créateurs : le Ballet-Studio. Kresnik est engagé à Brême et Ulrich obtient les soutiens officiels pour fonder, en 1971, avec Helmut Baumann, Jörg Burth et Gray Veredon, le Tanzforum de l'Opéra de Cologne. Cette compagnie à l'esprit moderne, préserve longtemps un fonctionnement sinon collectif, du moins démocratique, s'ouvrant à la danse contemporaine tout en gardant un entraînement à la fois classique et moderne. Peu à peu les quatre directeurs se séparent et, dès 1978, Ulrich dirige seul ajoutant au répertoire de la compagnie les œuvres de nombreux chorégraphes invités, tels J. *Russillo, C. *Bruce, G. *Tetley, H. *Van Manen, etc.
MIB
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