Ivan Valberkh ou [Waldberg I. ] (1766-1819). (suite)
ESou
Bibliographie. I. Valberkh, Is arkhiva baletmeistera. Dnevniki. Perepiska. Stzenarii. [De l'archive du maître de ballet. Journal. Correspondance. Livrets]. Préface de Y. Slonimski, Moscou-Leningrad, 1948.
Tórtola VALENCIA (1882-1955).
Danseuse espagnole.
Née à Séville, elle fait des études supérieures en Grande-Bretagne. Dès l'âge de dix-sept ans, elle danse à Londres dans des revues de music-hall. Attirée par les civilisations anciennes, elle s'éprend des salles d'art égyptien du British Museum et commence une carrière de danseuse *libre, défrayant la chronique par sa vie aventureuse et ses danses voluptueuses. Portée par un exotisme fervent, elle danse *Salomé, la Danse de l'encens, la Danse mauresque, la *Bayadère de L. *Delibes, etc., revendiquant « le corps d'une femme de chair habitée par la légende et le mystère » et affirmant : « Quand je danse, je suis sûre de revivre les danses antiques. » Nimbée de voiles de gaze, de toiles brodées et transparentes, affublée d'anneaux et de grelots, elle stupéfie l'élite intellectuelle, pour qui cette « danseuse psychique », « magicienne aux yeux d'abîme », a « l'eurythmie d'une sphynge vivante ». Après plusieurs tournées en Amérique Latine, en Asie et en Afrique, elle se retire de scène au début des années 1930.
JMA
Paul Valéry (1871-1945).
Écrivain français.
L'œuvre de ce poète et philosophe allie le lyrique et l'analytique. En cela, il rejoint F. *Nietzsche, dont il apprécie l'« idéologie nourrie de musique », sans toutefois en partager le vitalisme. En revanche, Valéry tend à tout considérer comme phénomène mental. Ainsi, la danse, qu'il définit comme « poésie générale de l'action des êtres humains », ou « philosophie en acte », inverse, dans son théâtre des idées (héritage direct du théâtre de l'esprit de S. *Mallarmé), la proposition nietzschéenne du philosophe-danseur en un danseur-philosophe dont le geste à la fois rigoureux et onirique touche à l'essentiel. Cette dimension métaphysique de la danse sera exposée dans une longue conférence intitulée Philosophie de la danse (1927) et dans Degas, Danse, Dessin (1938), mais surtout dans l'Âme et la danse (1944). Dans ce dialogue, qui inspirera un ballet du même titre à S. *Lifar (1955), Valéry met en scène, sur le modèle du Banquet de Platon, une allégorie de la danseuse, Atikté, faisant l'admiration partagée de Socrate-le-Philosophe, Eryximaque-le-savant-médecin et Phèdre-le-poète-amoureux : trois hommes, trois visions, trois corps de la connaissance se projettent dans un quatrième corps, la danse, qui constitue l'unité transcendante de leur différence, totalité spirituelle indivisible, à la fois corps et âme, rêve éveillé s'imposant comme un état supérieur de la réalité. La définition valéryenne de la danse comme poésie du mouvement sera au centre de la théorie de R. *Laban.
AFo
dame Ninette de VALOIS, [ndn. STANNUS Edris] (née en 1898).
Danseuse, chorégraphe et directrice de compagnie anglo-irlandaise.
En 1909, elle quitte l'Irlande avec sa famille pour Londres. En 1913, elle décide d'être danseuse. Après être passée par la *pantomime, le music-hall, l'opéra et une petite compagnie formée par L. *Massine en 1922, elle intègre les *Ballets russes de *Diaghilev (1923-1925), dont elle devient artiste invitée de 1926 à 1928. Elle étudie auprès d'E. *Espinosa, E. *Cecchetti et N. *Legat et, à son arrivée chez Diaghilev, s'attaque à des œuvres difficiles techniquement et assure des solos. Son expérience de trois méthodes d'enseignement renforce son intérêt pour la pédagogie. À la mort de Diaghilev, en 1929, elle est déjà active dans les trois domaines où elle va jouer un rôle majeur : elle enseigne dans sa propre Academy of Choreographic Art, chorégraphie notamment à Cambridge et à Dublin, et dirige un groupe de danseurs grâce à Lilian Baylis, qui l'engage à l'Old Vic. Elle continue à danser jusqu'en 1937. Son jeu de jambes solide et brillant, sa maîtrise, son charme et son sens de l'humour font merveille dans les rôles de Swanilda (*Coppélia), la Funambule de son propre Douanes (1932), Papillon et Colombine du *Carnaval de M. *Fokine et le *pas de trois de *Rendez-vous de F. *Ashton. Elle crée de nombreuses pièces courtes, la première étant un solo dans Scenes from Phoebus and Pan (1918) pour le Beecham Opera and Ballet. Elle remporte un premier grand succès en 1931 avec *Job et continue de chorégraphier jusqu'en 1943, se limitant ensuite à des pièces courtes, à l'exception d'un Don Quichotte (1950, mus. Roberto Gerhard) et de quelques pièces mineures pour le Ballet national turc (1962-1966), qu'elle contribue à fonder. Ses deux chefs-d'œuvre, The *Rake's Progress et *Checkmate, tout comme Job, reflètent son intérêt premier pour la dramaturgie plus que pour une technique classique épurée. Ils correspondent aussi à l'idéal de Fokine, qui voit dans le ballet une alliance de formes artistiques et désapprouve le recours au divertissement gênant la progression dramatique d'une œuvre. Son langage chorégraphique est comparativement simple et clair et remarquablement libre de tout romantisme ou sentimentalisme ; elle crée des rôles qui peuvent se transmettre sans dommages à d'autres interprètes : chorégraphe cérébrale, elle pense soigneusement chaque pas et chaque déplacement. On retiendra surtout de sa contribution au ballet du XXe siècle, la création de ses deux compagnies : les Old Vic Dancers (1928) et le *Sadler's Wells Opera Ballet (1945), devenus respectivement le *Royal Ballet et le *Birmingham Royal Ballet. Elle enseigne encore une dizaine d'années à la *Royal Ballet School après en avoir abandonné la direction en 1963. Centenaire en 1998, elle a réalisé son ambition : faire respecter la profession de danseur dans son pays et le ballet britannique dans le monde entier.
JS, LK
Autres chorégraphies. The Haunted Ballroom (1934) ; Bar aux Folies Bergère (1934, *B. Rambert) ; The Gods Go A'Begging (1936) ; Promenade (1943) ; The *Prospect Before Us (1943).
Ben Van Cauwenbergh (né en 1958).
Danseur et chorégraphe néerlandais.
Brillant soliste (médaille d'or à *Lausanne et d'argent à *Varna), il danse au Royal Festival Ballet de Londres (1978-1984), puis se produit sur les grandes scènes européennes, se fixant à Berne (1987-1989) avant de prendre la direction du Ballet de Lucerne, puis du Ballet de Wiesbaden en 1992. Chorégraphe fin et spirituel il signe notamment des oeuvres inspirées des chansons de Jacques Brel et Édith Piaf.
SJM
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