Premier chorégraphe américain à monter l'intégrale de *Coppélia (1939), le *Lac des cygnes en quatre actes (1940) et l'intégrale de *Casse-Noisette (1944) dont il fait une tradition pour les fêtes, il concourt activement au développement du San Francisco Ballet. À l'université de l'Utah, il s'emploie à lancer un programme de conservatoire au sein du département de théâtre à un moment où la plupart des universités proposent un enseignement de danse moderne dans leur programme d'éducation physique. Également auteur de chorégraphies pour le théâtre et l'opéra, il contribue à révéler de futures étoiles, notamment Finis Jhung, Kent Stowell, Bart Cook, Jay Jolley ainsi que M. *Smuin.
MK
Rodion CHTCHEDRINE (né en 1932).
Compositeur russe
Il étudie le piano et la composition au conservatoire de Moscou, où il devient professeur de composition en 1965. Son style présente des traces de différentes influences, entre autres, de l'aléa et du jazz. Il compose cinq ballets pour la danse, notamment, le Petit Cheval bossu (1960, A. *Radounski), *Carmen Suite (1977, Alberto *Alonso), Anna Karénine (1971, Natalia Rijenko et Victor Smirnov-Golovanov) ainsi que la Mouette (1980) et la Dame et le petit chien (1985) chorégraphiés par son épouse M. *Plissetskaïa. B. *Eifman a créé plusieurs pièces sur ses musiques.
SZ
Anatole CHUJOY (1894-1969).
Écrivain et critique américain d'origine lettone.
Né à Riga, il fait ses études dans les universités de Riga et de Saint-Pétersbourg, puis émigre aux États-Unis en 1920. Il collabore à la rédaction du magazine American Dancer avant de cofonder et de diriger Dance Magazine (1936). Il fonde Dance News en 1942, revue pour laquelle il travaille jusqu'à sa mort. Homme cultivé et curieux, il est à la fois écrivain, éditeur et traducteur de travaux théoriques sur la danse. Il conçoit et rédige la Dance Encyclopedia publiée à New York en 1949 et rééditée en 1967 (Simon and Schuster, New York), et publie plusieurs autres ouvrages : The New York City Ballet (A. Knopf, New York, 1953), Fokine, Memoirs of a Ballet Master (A. Knopf, New York, 1961).
GV
Yoshiko CHUMA (née en 1950).
Danseuse et chorégraphe japonaise.
Née à Osaka (Japon), elle s'installe à New York en 1977. Considérée comme l'une des plus importantes artistes d'avant-garde, s'entourant de collaborateurs de différentes disciplines, elle crée des pièces qui sont à la fois des concerts, du théâtre, des *performances de rue, et intègrent souvent des danseurs non professionnels. Dans les années 1990, elle inaugure à l'espace Dixon, à New York, des performances mensuelles nommées Brand New Dance, où elle invite divers chorégraphes à créer des pièces expérimentales. Elle se produit dans des festivals internationaux et des biennales d'art contemporain, et crée des pièces pour d'autres compagnies, dont Charleroi-Dance en Belgique.
GV
Pierre Ciceri (1782-1868).
Décorateur de théâtre français.
Il entre à l'Opéra de *Paris en 1804 et l'année suivante, il est appointé comme peintre de paysage. Il travaille sous la direction de Degotti et de J.-B. Isabey , puis il est nommé peintre en chef (1816). Avec Daguerre (1820-1822), il utilise les nouvelles ressources de l'éclairage au gaz. L'arrivée du Dr *Véron, en 1831, lui permet de réaliser ses plus beaux décors : le fameux cloître de *Robert le Diable (1831) et la forêt de la *Sylphide (1832), dont la poésie s'accordait à la grâce de M. *Taglioni, sont salués comme les chefs-d'œuvre de l'école romantique. Pourtant, sous la monarchie de Juillet, Ciceri est progressivement évincé au profit de ses élèves, et seuls lui sont confiés les paysages dans lesquels il montre une originalité unanimement reconnue. Ainsi, Th. *Gautier exprime toute son admiration pour le second décor de *Giselle (1841) avec un lever de soleil « d'une vérité prestigieuse » et des effets nouveaux comme le vol transversal ou des disparitions subites. Ciceri quitte l'Opéra en 1848, après avoir réalisé son dernier décor pour Nisida (? *Mabille).
NW
Jan CIEPLINSKI (1900-1972).
Danseur, chorégraphe et pédagogue polonais.
Formé à l'École du Grand Théâtre de *Varsovie, où il est danseur de 1917 à 1921, il se produit ensuite avec la compagnie A. *Pavlova avant de fonder sa propre troupe (1922-1925). Après deux années au sein des *Ballets Russes, il devient directeur du *Ballet royal suédois (1927-1931) puis du Ballet du Théâtre national de *Budapest (1931-1934). Il travaille ensuite comme chorégraphe au *Teatro Colón ainsi que pour le Ballet polonais (1938-1939), compagnie dépendant du ministère des Affaires étrangères polonais. Pendant la Seconde Guerre mondiale, il continue à chorégraphier à Varsovie, ce qui lui vaut d'être condamné par le gouvernement polonais, ainsi qu'à Budapest. En 1948, il s'installe à Londres où il ouvre une école et chorégraphie pour diverses compagnies, puis se fixe à New York en 1959, continuant à enseigner tout en donnant des conférences. En rupture avec le style classique traditionnel, il crée des œuvres très personnelles, débordantes d'imagination, souvent à partir de partitions de compositeurs polonais tels Moniuszko, Moszkowski et surtout Szymanowski.
PLM
Bibliographie. J Cieplinski, Outline of Polish Ballet History, Londres, 1956.
Cincinnati Ballet Company.
Compagnie américaine basée à Cincinnati (Ohio), fondée en 1962.
En tant que compagnie régionale non professionnelle, elle partage à ses débuts ses interprètes et ses représentations avec le New Orleans Ballet. Intimement liée à l'École de danse du Conservatoire de musique de l'université de Cincinnati, où enseignent notamment A. *Markova, J. *Truitte, Phyllis Manchester et Oleg Sabline, elle devient professionnelle en 1971. Placée sous la direction artistique de David McLain, elle se constitue un répertoire d'œuvres de son directeur ainsi que de Sabline, Truitte, Roman Jasinski. En 1984, F. *Franklin succède à McLain, suivi d'Iván Nagy à partir de 1986.
MK
Ottavio CINTOLESI (né en 1924).
Danseur, chorégraphe et directeur de compagnie chilien.
Il étudie au conservatoire de l'université du Chili avec E. *Uthoff, K. *Jooss, Elena Poliakova et Vadim Sulima. En 1946, il rejoint le *Ballet national chilien dont il devient premier danseur en 1948 puis maître de ballet en 1950. Après avoir occupé le même poste dans la compagnie J. *Charrat (1955-1956), il fonde en 1959 le Ballet municipal de *Santiago qu'il dirige jusqu'en 1966 puis à nouveau de 1979 à 1982. Entre temps il travaille en Europe, notamment avec le *BTC et comme directeur du Ballet municipal de Bonn (1973-1979). Auteur de nombreuses chorégraphies, il est aussi un pédagogue confirmé et enseigne aussi bien au Chili qu'aux États-Unis ou en France.
PLM
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