Contrairement à la plupart des danseurs russes de son époque, il se délecte de tout ce qui est « américain ». Dès son arrivée à Chicago, il entame des collaborations avec des artistes locaux, notamment John Alden Carpenter qui compose pour lui les musiques de The Birthday of the Infanta (1919) et de la « *pantomime de jazz » Krazy Kat (1922). Le cinéma attire très tôt son intérêt : en 1922, il signe avec Danse macabre (mus. *Saint-Saëns, réal. Dudley Murphy) le premier *film de danse avec son synchronisé ; en 1931, s'inspirant d'une visite des usines Ford à Detroit, il chorégraphie pour le film The Mad Genius (réal. xxxxxx) son célèbre Ballet mécanique qu'il reprendra ensuite au San Francisco Opera, puis en 1941 il règle les séquences dansées de The Men in Her Life (réal. xxxxxx) et The Corsican Brothers (réal. xxxxxx). Il crée également de nombreuses œuvres présentées au Hollywood Bowl. Affirmant des goûts musicaux modernistes (Tansman, Szymanovsky, *Schoenberg), il est connu pour son approche populaire et progressiste de la chorégraphie. Grâce à lui une génération d'américains découvre le ballet, y compris les traditions nées de Fokine et *Diaghilev.
MK
Bibliographie. A. Bolm, « A Dancer's Days », Dance Magazine, août-oct. 1926.
Après sa formation en danse classique, il étudie et danse avec J *Waring, il est soliste au W. *Dollar Concert Ballet puis rejoint les *Grands Ballets canadiens en 1964. Danseur pour J. *Renaud, il devient assistant directeur à la création du Groupe de la place Royale (1966) qu'il dirige avec J.-P. *Perreault à partir de 1972 et seul depuis 1981.
Auteur de chorégraphies intégrant voix et technologies, il est de plus un excellent pédagogue qui développe une technique alliant ses acquis classiques aux tendances contemporaines. Mentor de nombreux chorégraphes, il met sur pied The Dance Lab (1988) du Groupe de la place Royale, lieu de ressourcement et de création ouvert aux artistes expérimentés tentés par de nouveaux défis.
MFe
Chorégraphie. Mille Fins (1974) ; Danse pour 7 Voix (1976, coll. *Perreault) ; The Living Room (1985) ; Trio (1987).
Marietta ou Maria Bonfanti (1847-1921) .
Danseuse et pédagogue italo-américaine.
Élève de C. *Blasis, elle est engagée à la *Scala de Milan en 1851. Elle danse à Londres et Madrid, puis à New York, où elle débute dans The *Black Crook en 1866. Interprète brillante, elle fait carrière aux États-Unis, se produisant essentiellement dans des opérettes et des extravaganzas, en tournée (notamment avec le Milan Italian Grand Opera) et à New York, sur les scènes de *Broadway ainsi qu'au *Metropolitan Opera House en 1885-1886. Elle ouvre en 1895 une école de danse classique à New York, où elle enseigne jusqu'en 1919. R. *Saint Denis figure parmi ses élèves.
NL
Louis BONIN (v. 1645-1716).
Maître à danser et maître de ballet français.
Formé par P. *Beauchamps et L'Épervier, il s'installe en Allemagne, où il devient maître à danser du duc W. von Sachen-Eisenach et, à partir de 1707, de l'université de la ville d'Iéna. Danseur d'opéra en France et en Alemagne, talentueux et instruit, il est remarqué pour sa légèreté. Il est l'auteur d'un traité, Die Neuste Art zur galanten und theatralischen Tantz-Kunst [l'Art moderne de la danse galante et théâtrale] (Leipzig, 1711), dont la préface est rédigée par son élève J. L. Rost sous le pseudonyme Meletaon. Divisé en 46 chapitres, l'ouvrage est un document précieux sur la pratique de la danse théâtrale du début du XVIIIe siècle. À cet égard, les descriptions précises qu'il donne sur certains aspects du « ballet *sérieux » tel qu'il est pratiqué en France (*entrée des Vents, des Furies, *chaconne) sont d'un grand intérêt. Bonin est un des rares auteurs à mettre l'accent sur l'interprétation et à attirer l'attention sur la pédagogie de la danse en fonction du développement de l'enfant. En outre, l'ouvrage contient un index général et des renseignements précieux sur les maîtres à danser en Europe, parmi lesquels figure son frère installé à Dresde.
EL
Jean-Pierre Bonnefous (né en 1945).
Danseur français.
Formé à l'École de danse de l'Opéra de *Paris, il entre dans la troupe dès 1959 et devient *étoile en 1965. Il y danse le *répertoire (*Études, ? *Lander) et des créations (la Damnation de *Faust, 1964, M. *Béjart ; Webern op. 5, 1966, Béjart; *Notre-Dame de Paris, 1968, R. *Petit). En 1970, il rejoint le *NYCB, où il forme avec son épouse P. *MacBride un couple à l'élégance brillante (*Agon, *Apollon Musagète). G. *Balanchine crée pour lui *Violin Concerto (1972) et Sonatine (1975). Son *élévation (saut de l'ange), sa petite *batterie et son sens dramatique font de lui un artiste complet.
SJM
Jacques BONNET (?-apr. 1723).
Historien de la danse français.
Trésorier payeur au Parlement, il est l'auteur de la première Histoire générale de la danse sacrée et profane (d'Houry, Paris, 1723 ; rééd. fac-sim. Slatkine, 1969). L'ouvrage traite surtout de la danse des anciens. Les quelques mentions sur la danse théâtrale de son époque, les danses et les bals du XVIe au XVIIIe s. éparpillées au fil des neuf chapitres qui composent ce livre, donnent un faible aperçu d'une matière pourtant riche. À cet égard, la lecture de cet ouvrage n'est pas aussi prometteuse que son titre le laisse entendre.
ERou
Laurie BOOTH (né en 1954).
Danseur et chorégraphe britannique.
Il étudie au *Dartington College of Arts auprès de S. *Paxton et M. *Fulkerson, participe à divers groupes de théâtre expérimentaux puis débute comme chorégraphe-performer.
Soliste virtuose, il développe une danse parfois proche du danger, dont les composantes - arts martiaux, *contact-improvisation et théâtre physique - donnent à ses mouvements une animalité puissante et souple. English Wildlife (1978), sa première pièce, unit texte, film, mouvement et musique. Favorisant l'*improvisation et l'expérimentation, il multiplie les collaborations avec des musiciens tels G. *Bryars ou Hans Peter Kuhn, des plasticiens tels John Newton ou Anish Kapoor, ou d'autres chorégraphes comme pour Suspect Terrain (1989) réalisé avec S. Paxton, D. *Reitz et Polly Motley ou encore Stormgarden (1996) avec Russell Maliphant. Il crée aussi pour des compagnies reconnues : Completely Birdland (1991, *Rambert D. Co), Deep Field (1993, B. Nal des *Pays-Bas). Son travail tient une place importante dans l'avant-garde en Angleterre.
OD
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