Eddie Cantor, [Itzkowitz Isidore, dit ] (1892- 1964). (suite)
Ses talents de danseur sont fréquemment ignorés. Cependant, au début de sa carrière, le numéro qu'il présente à *Broadway et dans ses premiers films, mis en scène par B. *Berkeley, tels Whoopee (1930), Palmy Days (1931), The Kid from Spain (1932), utilise beaucoup de danse et de mouvements stylisés. Il participe à ses premières Follies en blackface dans le rôle du fils de B. *Williams et présente des satires de danse dans celles de 1917 au sein des numéros de ballet russe. On lui attribue l'invention de la " main jazz », doigts écartés, associée aux danses de Broadway et de la télévision des années 1950.
ESe
Giuseppe CANZIANI (av. 1750-apr. 1793).
Danseur, chorégraphe et pédagogue italien.
Dans les années 1770, installé à Venise avec sa première femme, la danseuse Maria Casassi, il est danseur et chorégraphe au nord de l'Italie, à Munich, à Saint-Pétersbourg, et travaille avec J.-G. *Noverre, G. *Angiolini et C. *Lepicq. Auteur prolifique, il compose entre autres le Jugement de *Pâris (1773, Munich), *Apollo placato en 1778 pour l'ouverture de la *Scala. En 1779, il succède à Angiolini comme chorégraphe à Saint-Pétersbourg. De retour à Venise en 1783, il repart à Saint-Pétersbourg en 1784 comme pédagogue, comptant parmi ses élèves I. *Valberkh. En 1790, il compose des divertissements pour le Début du règne d'Oleg sur un livret de Catherine II. De retour à Venise en 1792, il présente l'année suivante ses derniers ballets connus.
CC
Ettore CAORSI (1894-1975).
Danseur et pédagogue italien.
Il étudie à Gênes et Naples et se perfectionne avec N. *Guerra qu'il suit dans ses nombreuses tournées. En 1925, il danse à la *Scala dans Convento veneziano (chor. N. *Guerra d'apr. G. *Pratesi, mus. *Casella). Excellent pédagogue, il forme toute une génération de danseurs dont U. *Dell'Ara.
ATes
CAPAB Ballet (Cape Performing Arts Board Ballet).
Nom porté par le *Cape Town City Ballet de 1963 à 1996.
RS
Cape Town City Ballet.
Compagnie de danse sud africaine basée au Cap.
Il trouve son origine dans l'ensemble constitué en 1934 par D. *Howes avec des élèves de l'*UCT Ballet School qu'elle a fondée. Dirigé par D. Howes jusqu'en 1967, cet ensemble devient, en 1963, une compagnie professionnelle subventionnée sous le nom de CAPAB Ballet (Cape Performing Arts Board Ballet), D. *Poole étant alors nommé maître de ballet et F. *Staff, chorégraphe résident. La compagnie présente des classiques du XIXe s., ainsi que des créations de Staff et des reprises de F. *Ashton, J. *Cranko et G. *Burne. En 1967, Poole succède à Howes et, en 1974, la danseuse Veronica Paeper, veuve de Staff, devient la chorégraphe attitrée. Ses nombreuses créations (surtout des ballets longs) occupent, depuis, une place dominante dans le répertoire. En 1991, V. Paeper prend la direction de la compagnie qui devient le Cape Town City Ballet en 1997, suite à des changements survenus dans la politique des subventions. Parmi les danseurs notoires au fil du temps figurent P. *Spira, Elizabeth Triegaardt, Carol Kinsey, Janet Lindup et Eduard Greyling.
RS
Caracas (Ballet national de).
Compagnie vénézuélienne fondée en 1980.
La compagnie prend réellement son essor en 1984, quand Elias Pérez Borjas, personnalité du monde du ballet vénézuélien, alors directeur du Teatro Teresa Carreño de Caracas, invite Vicente Nebrada (né en 1930) à en prendre la direction artistique. Ce dernier, a déja une longue histoire sur les scènes du monde entier qui en fait un des rares chorégraphes vénézuéliens de renommée internationale et lui vaut d'être qualifié de « fascinant artiste aux multiples facettes » par C. Barnes, critique au New York Post. Il revient alors au pays et relève le défi de mener à bien la réorganisation interne de la compagnie et la formation d'une équipe professionnelle qui lui garantisse une identité spécifique. Il crée un corps de ballet avec des danseurs de haut niveau et développe un répertoire riche de plus de trente chorégraphies remarquables comprenant les plus grands ballets classiques, des œuvres de chorégraphes latino-américains et quelques-unes de ses propres pièces les plus reconnues auxquelles s'ajoutent de nouvelles créations singulières. Celles-ci se caractérisent par leur identité latino-américaine, un sens dramatique particulier et un impact théatral suggestif. Sous son action, la compagnie atteint un style artistique original, alliant un grand dynamisme à une audace juvénile, qui lui vaut une réussite exceptionnelle tant à la faveur de ses propres saisons qu'en tournées en Europe et aux États-Unis.
CU
Carolyn CARLSON (née en 1943).
Danseuse et chorégraphe américaine d'ascendance finlandaise.
Elle étudie la danse au *San Francisco Ballet et à l'université de l'Utah, où elle rencontre A. *Nikolais pour qui elle danse de 1965 à 1972. Excellente interprète, prix de la meilleure danseuse au Festival international de danse de Paris (1968), elle revient en France en 1971 comme soliste chorégraphe dans la compagnie Anne Béranger. En 1973, à l'Opéra de *Hambourg dont il est directeur, R. *Liebermann remarque C. Carlson dans Kyldex ( Nikolais) et l'invite à participer à l'Hommage à Varèse à l'Opéra de *Paris : elle y crée *Densité 21,5 (1973). Nommé à la direction de l'Opéra de Paris, Liebermann réussit à imposer la chorégraphe (Sablier Prison , 1974) et fonde pour elle en 1975 le *GRTOP. Avec des danseurs choisis en dehors de l'Opéra pour la plupart, elle crée des pièces en complète rupture avec la tradition de la maison. En 1980, à la fin du mandat de Liebermann , elle part pour la *Fenice, où elle fonde le Teatro Danza avec René Aubry. De retour en France en 1984 avec *Blue Lady (1983), son solo mythique, elle partage son temps entre des improvisations et de nouvelles créations de groupe, chorégraphiant aussi pour M.-C. *Pietragalla, le Ballet national de *Finlande et le Ballet *Cullberg dont elle est directrice artistique de 1994 à 1995.
Dès Rituel pour un rêve mort (1972, compagnie Anne Béranger) créé au Festival d'Avignon, elle révolutionne la Cour d'honneur par son imagination onirique, comme elle le fera ensuite au sein de l'Opéra où son passage contribue à faire connaître la danse contemporaine en France. Avec le GRTOP, elle développe un style de *danse-théâtre mêlant images scéniques et filmiques élaborées à partir d'improvisations avec ses danseurs, comme chez Nikolais. Elle porte cet art à sa quintessence dans les solos qu'elle improvise en complicité avec J. * Surman ou M. * Portal. Faite de courbes fluides, de cassures ou de savants ralentis, sa gestuelle trouve des moments magiques et des fantaisies imprévisibles. Souvent proche des éléments naturels (*Wind, Water, Sand, 1976 ; Undici Onde , 1981 ;Underwood, 1982 ; Still Waters, 1986), sa danse devient plus simple, plus humaine au contact des danseurs italiens. Mais par la suite, de Dark (1988) à Dall'interno (1998), une quête mystique, et un peu de nostalgie (Vu d'ici , 1995) assombrissent certaines créations. Subsistent néanmoins l'humour, plus retenu, et la poétique de sa danse.
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