Autres chorégraphies. The One Hundred (1970) ; Brahms' Paganini (1980) ; Sinatra Suite (1984) ; The Catherine Wheel (com. mus. 1981). Bibliographie. T. Tharp, Push Comes to Shove (autobiographie), éd???, lieu???, 1992.
Theater Owners' Booking Association (TOBA)
[Association d'engagement des propriétaires de théâtres] (1907-1929).
Au début du XXe siècle, les troupes de *minstrels ont cédé la place à des troupes de variétés ambulantes. L'émergence d'un grand nombre d'artistes noirs, le développement d'un public afro-américain conjugués à l'appât du gain et à l'attitude ségrégationniste des spectateurs blancs poussent certains hommes d'affaires à organiser un circuit théâtral parallèle. La TOBA, fondée en 1907 par F. A. Barrasso, réunit à son apogée (1920) une quarantaine d'établissements fréquentés exclusivement par les Noirs, offrant une grande variété de divertissements allant des pièces classiques de W. *Shakespeare à des numéros dansés. Pour nombre d'artistes noirs, très mal reçus dans le Sud, TOBA devient vite le synonyme de « Tough On Black Asses » [dur pour les fesses noires], cependant c'est sur sa scène que s'effectue la transition entre les stéréotypes rigides issus de la *minstrelsy et un style de spectacle reflétant les goûts principaux de la communauté noire. Bessie Smith, Ethel Waters, Count Basie, B. *Robinson, H. *Coles, *Buck and Bubbles s'y produiront, avant la ruine du circuit, en 1929, avec la dépression économique.
ESe
Nini Theilade (née en 1915).
Danseuse, chorégraphe et pédagogue danoise.
Née à Java, elle est d'abord formée par sa mère à la méthode *Jaques-Dalcroze, puis à la danse classique par Asta Møllerup à Copenhague et surtout par L. *Egorova à Paris. Elle débute comme soliste à La Haye, travaille avec M. *Reinhardt dans le film le Songe d'une nuit d'été (1935) et monte en 1936*Psyché (mus. C. *Franck) pour le *Ballet royal danois. Elle crée d'autres ballets à Copenhague où elle introduit un style nouveau et plus moderne. Danseuse souple et musicale, elle se produit de 1938 à 1940 au *Ballet russe de Monte-Carlo, créant des rôles dans Nobilissime Visione (1938) et la *Septième Symphonie (1939) de L. *Massine. Elle enseigne ensuite dans des écoles en France (Lyon) et au Danemark.
EA
Autres chorégraphies. Cirklen [le Cercle] (1938, mus. P. *Tchaïkovski) ; Metaphor (1950, mus. Niels Viggo Bentzon) ; Concerto (1950, mus. R. *Schumann).
E [?] A [?] Théleur (av. 1817-apr. 1844).
Danseur, chorégraphe et pédagogue anglais.
Il étudie à Paris avec J-F. *Coulon (selon *Bournonville, son nom serait une francisation de Taylor) et travaille principalement à Amsterdam et Londres. Il est l'auteur de Letters on Dancing, Reducing this elegant and healthful Exercise to easy Scientific Principles (Londres, 1831, 2eed. 1832), ouvrage qui présente deux systèmes de *notation ("chirography"), des descriptions de pas de danse et des exercices dont certains destinés à renforcer "les pointes des orteils", ainsi que des observations sur le style et l'entrainement.
SNH
Ghislaine THESMAR (née en 1943) .
Danseuse et pédagogue française.
Elle commence sa carrière professionnelle dans le corps de ballet de la *Belle au bois dormant du marquis de *Cuevas (1961), puis s'engage dans la troupe des Jeunesses Musicales de France (*étoile en 1963). Sa rencontre avec P. *Lacotte, qui dirige alors la compagnie, est décisive, elle devient sa muse et crée plusieurs de ses ballets avec celui qui restera son partenaire d'élection, M. *Denard. Elle se produit ensuite dans la troupe de R. *Petit, les *Ballets Rambert, les *Grands Ballets canadiens (1967, 1968). Sa participation à la reconstruction que Lacotte fait de la *Sylphide pour la télévision française (1971) est le tournant sa carrière : grâce à ce rôle, elle devient étoile à l'Opéra de *Paris (1972-1983). Parallèlement, elle se produit régulièrement au *NYCB. Lorsqu'elle quitte la scène, elle s'inscrit dans la lignée des grands passeurs de la tradition (classe de perfectionnement à l'Opéra).
La Sylphide la révèle au grand public. S'inspirant des écrits de M. *Taglioni, elle nuance son personnage en qui elle voit une héritière romantique des séductrices des romans du XVIIIe siècle. Avec Lacotte, elle travaille la technique du rôle sur des documents d'époque, ressuscitant l'évanescence d'un style oublié. Si elle est une référence pour le répertoire du XIXe s. (*Giselle, *Coppélia), elle danse aussi les œuvres du XXe s. (*Mirages, *Phèdre, *Lifar) et inspire les créateurs (R. Petit, la *Nuit transfigurée, 1976). Longue, musicale, hiératique et mystérieuse, elle est l'une des interprètes favorite de G. *Balanchine (Tzigane, le *Fils prodigue, la *Somnambule) et de J. *Robbins (En sol).
SJM
Maurice THIRIET (1906 - 1972).
Compositeur français.
Élève du Conservatoire de Paris, il écrit pour la scène et le cinéma ainsi que de nombreuses pièces de concert. Compositeur de treize ballets, il collabore à plusieurs reprises avec R. *Petit (uf à la coque, 1949 ; Deuil en 24 heures, 1953 ; la Chaloupée, 1961) et avec S. *Lifar (le Maure à Venise, 1960).
MJS
Autres compositions. La Reine des îles (1955, *Parlic) ; Héraclès (1953, *Charrat).
Claude THOMPSON (né en 1937) .
Danseur, chorégraphe et pédagogue américain.
Il fait ses débuts à l'âge de treize ans en chantant et en dansant dans les night-clubs. Après des études à la *High School of Performing Arts de NewYork, il paraît à *Broadway dans My Darling Aida (1952), puis se produit dans diverses comédies musicales, dont *Jamaica, House of Flowers, Mr. Wonderful. Il danse dans la compagnie de L. *Johnson en 1955, crée son propre groupe, tourne avec Sammy Davis Jr. et paraît dans de nombreuses émissions télévisées. Il obtient sa première opportunité de chorégraphe avec le film Finian's Rainbow [la Vallée du bonheur] (1968, réal. Frank Coppola) qu'il termine à la place de H. *Pan et se produit dans The Colour Purple (1985, réal. Steven Spielberg, *Warner Bros.).
ESe
Chorégraphies pour le théâtre musical. Don't Bother Me I Can't Cope (1972, avec G. *Faison) ; Tommy (1972, chor. et m. en sc.).
Clive THOMPSON (né en 1940).
Danseur, chorégraphe et pédagogue jamaïcain.
Né à la Jamaïque, où il se forme auprès d'Ivy Baxter, il arrive aux États-Unis en 1960. Il intègre alors la Martha *Graham School et, six mois plus tard, la compagnie Graham, où il se produit de 1961 à 1970, obtenant bientôt des rôles principaux (Circe, 1963). Il se produit à *Broadway, et avec les compagnies de T. *Beatty, K. *Yuriko, et sa propre compagnie. Il intègre l'Alvin *Ailey American Dance Theater en 1970, où il se distingue notamment dans Hidden Rites (1973, Ailey) et Medusa (1978, M. *Sappington). Il enseigne la technique Graham à la Graham School, la *London School of Contemporary Dance et la *Juilliard School. Il quitte la compagnie Ailey en 1980 pour fonder une école sur Staten Island, avant de repartir pour la Jamaïque travailler avec le National Dance Theater of Jamaica.
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