Les créations du Crowsnest Trio sont diverses, théâtrales parfois, poétiques (10 Haiku, 1979, *American Dance Festival) et sensibles comme le charmant Jardin de Villandry (1980) créé en tournée à Paris.
LB
Autres chorégraphies. Ballet en trois mouvements (1968) ; Tam-tam et Percussion (1970) ; Fusion (1974) ; l'Homme aux loups (1975) ; Fou d'Elsa (1976).
sir Arthur BLISS (1891-1975) .
Compositeur britannique.
Il étudie à Cambridge et, après 1919, se fait remarquer pour son style incisif et cosmopolite, influencé par I. *Stravinski et A. *Schoenberg, dont il adoucit l'âpreté dans les dernières années de sa carrière. Sa production de ballet comprend *Checkmate (1937, N. de *Valois), *Miracle in the Gorbals (1944, *Helpmann), Adam Zero (1946, Helpmann), The Lady of Shalott (1958, L. *Christensen).
ESpe
Sur la musique de Bliss. Ninette de Valois (Rout, 1927 ; Narcisse et Écho, 1932) ; *MacMillan (Diversions, 1961) ; *Neumeier (Frontier, 1969).
D'abord lié à des modèles néobaroques, il s'ouvre bientôt au sérialisme, au jazz et à la musique électronique. Grande figure du monde musical suédois, il compose plusieurs ballets pour les chorégraphes de son pays : B. *Akesson (Sisyphe, 1957 ; Minotaure, 1958 ; Play for Eight, 1962) et B. *Cullberg (Dionysos, 1966 ; Spawning Ground, 1967). C'est M. *Béjart qui signe la chorégraphie de son opéra Aniera en 1960.
EQ
Michel Blondy ou [Blondi ] (v.1675-1739) .
Danseur, chorégraphe et pédagogue français.
Appartenant à une famille de maîtres à danser parisiens, neveu de P. *Beauchamps, il fait carrière à l'*Académie royale de musique, où il débute en 1691. Interprète vedette de la troupe jusqu'en 1730, souvent partenaire de Mlle de *Subligny, il brille, selon Durey de Noinville, dans la danse *haute et les entrées de *caractère, en particulier celles de Furies. En 1728, il règle les danses de la tragédie Hypermnestre (mus. Gervais) et succède officiellement à L. *Pécour comme " compositeur des ballets " de l'Académie royale de musique en 1729, assumant cette fonction jusqu'en 1739.
Il participe d'autre part aux fêtes de la duchesse du Maine à Sceaux en 1714 et travaille pour les jésuites en 1715. Deux compositions pour le bal, notées en écriture R.-A. *Feuillet, attestent son activité de maître à danser auprès de particuliers. Membre de l'*ARD, il a notamment pour élèves la *Camargo, M. *Sallé, F. *Hilverding et contribue à la diffusion de la *belle danse française.
NL
Autres chorégraphies. Les Amours des déesses (1729, mus. Jezan-Baptiste Quinault) ; les Sens (1732, mus. Jean Joseph Mouret) ; *Hippolyte et Aricie (1733, mus. *Rameau) ; *les Indes galantes (1735, mus. Jean-Philippe Rameau) ; Castor et Pollux (1737, mus. Jean-Philippe Rameau).Partition chorégraphique. F. *Lancelot, la Belle Dance, Van Dieren, Paris, 1996.
Beverly BLOSSOM, [ndn Schmidt B. ] (née en 1926).
Chorégraphe, danseuse et pédagogue américaine.
Élève d'A. *Nikolais, dont elle rejoint la compagnie (1953-1963), elle travaille également pendant un an avec M. *Wigman à Berlin en 1957. Nommée professeur à l'université de l'Illinois (1968-1990), à partir de 1977 elle anime parallèlement sa compagnie, qui laisse place, en 1982, à une carrière en solo. En 1990, elle reforme sa compagnie à New York et reçoit en 1993 un Bessie Award pour l'ensemble de sa carrière. Très sollicitée pour enseigner ou créer, auteur de plus de cent œuvres, poignantes, drôles, souvent satiriques, elle fonde son travail sur « l'alchimie entre narration et personnage ».
ML
Chorégraphies. Duet for One Person (1963, solo avec film) ; One Too (1977) ; Sands (1978) ; Brides (1981) ; Dad's Ties (1983) ; Castles in Spain (1988) ; Swan Song (1989) ; Wither Winter (1994).
René Blum (1878-1942) .
Directeur de compagnie français.
Frère de l'homme d'État Léon Blum, critique d'art, fondateur de plusieurs revues littéraires, il est directeur des spectacles (comédies et opérettes) du théâtre de *Monte-Carlo de 1924 à 1929. Il y reçoit les *Ballets Russes de Diaghilev et devient responsable de la saison d'opéras et de ballets à la mort de S. *Diaghilev, en 1929. Il fonde et dirige de 1932 à 1935 les *Ballets russes de Monte-Carlo avec le colonel de *Basil, puis seul les Ballets de Monte-Carlo de 1936 à 1940. Arrêté en 1941, il est déporté et meurt à Auschwitz le 28 septembre 1942.
Érudit et modeste, il préfère se consacrer à la direction artistique plutôt qu'administrative. Collaborant avec beaucoup d'anciens des Ballets Russes de Diaghilev, il permet à B. *Kochno, G. *Balanchine, L. *Massine et M. *Fokine de poursuivre dans la voie de la création. Héritier spirituel de Diaghilev, il attire les peintres, passe commande à de jeunes compositeurs et engage des danseurs aux talents prometteurs (I. *Baronova, A. *Eglevsky, D. *Lichine, T. *Riabouchinska, T. *Toumanova, etc.).
NL
Mikhaïl Bobychov (1886-1964).
Peintre décorateur russe.
Influencé par le groupe Mir iskousstva et par les Saisons russes de S. *Diaghilev, il signes des décors pour M. *Fokine (Eros et Francesca da Rimini, *Mariinski, 1915). Parmi ses œuvres les plus connues figurent des ballets de F. *Lopoukhov au *Maly (*Arlequinade, 1933 ; *Coppélia, 1934; *Clair ruisseau, 1937) et le Cavalier de bronze (1949, R. *Zakharov, Bolchoï).
ESou
Jacques Bocan, [Cordier, dit ] (début XVIIe s.).
*Maître à danser et compositeur français.
Il aurait enseigné la danse aux princesses françaises, espagnoles, anglaises, polonaises et danoises. Charles Ier d'Angleterre le fait dîner à sa table et le récompense généreusement de ses services. Il participe aux *ballets de cour donnés en France. Contrefait et bossu, il est pourtant considéré par Sauval, en 1724, comme « le miracle de son siècle non seulement pour la danse, mais pour le violon ». Dans la dernière entrée du ballet du *Grand Bal de la douairière de Billebahaut (1626), les danses singent ses compositions, dont elles se moquent gentiment.
NL
Julio Bocca (né en 1967).
Danseur argentin.
Initié à la danse par sa mère dès l'âge de quatre ans, il étudie ensuite à l'Instituto del *Teatro Colón. L'enseignement de ses maîtres, Gloria Kazda, José Parés et N. Jutyeva, s'enrichit des apports de Maggie Black et Winet Burmann. En 1985, il intègre le Ballet du Teatro Colón et obtient la médaille d'or du Concours de *Moscou. Ce triomphe le propulse vers une célébrité qui gagne autant les milieux artistiques que les publics populaires, d'abord en Argentine et bientôt dans toute l'Amérique, ainsi qu'en Asie et en Europe. Invité par M. *Baryshnikov, il est principal dancer de l'American Ballet Theater depuis 1986, tout en dansant comme soliste invité dans les grandes compagnies à travers le monde (*Royal B., *Kirov, *B. royal danois, la *Scala, B. de *Stuttgart) et dans les principaux festivals internationaux. En 1990, il fonde sa propre compagnie, le Ballet Argentino, avec laquelle il parcourt le monde. Sa danse se caractérise par la virtuosité exceptionnelle de sa technique et la spontanéité de son jeu théâtral plein de passion. Son répertoire s'étend de la *Sylphide d'A. *Bournonville jusqu'aux créations contemporaines d'O. *Aráiz, Julio López et M. *Wainrot, en passant par les œuvres maîtresses de J. *Robbins, J. *Cranko, K. *MacMillan et R. *Petit. Primé de nombreuses fois, il incarne de manière exemplaire la danse masculine du xxe siècle.
AF
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