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La chorégraphe belge Anne Teresa De Keersmaeker s'entretient ici avec la théoricienne du spectacle et musicologue Bojana Cvejić, afin de détailler les principes chorégraphiques de ses quatre premières œuvres (1981-1986). L'analyse rétrospective qui s'élabore au fil des questions permet ainsi de dévoiler les méthodes et les intuitions des années de formation de cette grande artiste de la danse. D'où naissent les premiers mouvements, les premiers gestes d'une chorégraphie ? Comment des structures complexes se dessinent-elles, pour permettre l'invention joyeuse de principes de composition et de styles performatifs inédits ? Anne Teresa De Keersmaeker fait appel à la précision de sa mémoire pour évoquer les motivations et les mille événements qui ont orienté le choix des mouvements, de la musique, de l'éclairage et de l'architecture spatiale dans ces quatre créations. Elle s'efforce de mettre en lumière ce qui guide "l'organisation des corps et des énergies dans l'espace et le temps , jetant ainsi les bases de son œuvre chorégraphique. Cherchant à restituer le riche matériau dont chaque chorégraphie est constituée, Anne Teresa De Keersmaeker et Bojana Cvejić ont ainsi imaginé un ensemble de partitions pour Fase, Rosas danst Rosas, Elenás Aria et le Quatuor à cordes no 4 de Bartók. Chacune de ces partitions associe un compte rendu détaillé de la chorégraphie, illustré de nombreux dessins, schémas, photographies et documents sur le spectacle, à des démonstrations dansées d'Anne Teresa De Keersmaeker, ainsi que des extraits de spectacles où les explications se mettent elles-mêmes à danser.

Choreographers --- Chorégraphes --- Keersmaeker, Anne Teresa de

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"Comment la chorégraphe Meg Stuart crée-t-elle ses spectacles? Dans ce livre, Meg Stuart nous livre ses réflexions sur sa pratique, en dialogue avec Jeroen Peeters et des (ex)-membres de la compagnie Damaged Goods"--P. 4 of cover.

Choreographers --- Chorégraphes --- Stuart, Meg --- Damaged Goods (Dance company) --- Chorégraphes

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Here is the first dual biography of the early lives of two key figures in Russian ballet: famed choreographer George Balanchine and his close childhood friend, the extraordinary ballerina Lidia (Lidochka) Ivanova. Tracing the lives and friendship of these two dancers from years just before the 1917 Russian Revolution to Balanchine's escape from Russia in 1924, Elizabeth Kendall's Balanchine & the Lost Muse sheds new light on a crucial flash point in the history of ballet. Drawing upon extensive archival research, Kendall weaves a fascinating tale about this decisive period in the life of the man who would become the most influential choreographer in modern ballet. Abandoned by his mother at the St. Petersburg Imperial Ballet Academy in 1913 at the age of nine, Balanchine spent his formative years studying dance in Russia's tumultuous capital city. It was there, as he struggled to support himself while studying and performing, that Balanchine met Ivanova. A talented and bold dancer who grew close to the Bolshevik elite in her adolescent years, Ivanova was a source of great inspiration to Balanchine?both during their youth together, and later in his life, after her mysterious death in 1924, just days before they had planned to leave Russia together. Kendall shows that although Balanchine would have a great number of muses, many of them lovers, the dark beauty of his dear friend Lidochka would inspire much of his work for years to come. Part biography and part cultural history, Balanchine & the Lost Muse presents a sweeping account of the heyday of modern ballet and the culture behind the unmoored ideals, futuristic visions, and human decadence that characterized the Russian Revolution.

Choreographers --- Chorégraphes --- Biography --- Biographies --- Balanchine, George. --- Ivanova, Lidiia,

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Bull, Richard --- Choreographers --- Improvisation in dance. --- Chorégraphes --- Improvisation (Danse) --- Biography --- Biographies --- Bull, Richard, --- Chorégraphes

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This is the first lengthy inquiry into the life and times of René Blum, the successor to Serge Diaghilev and a distinguished Parisian author, editor, critic, and producer. Léon Blum, his older brother, became the first Socialist prime minister of France. René’s early life was dedicated to publicizing and celebrating young playwrights, artists, and writers. Long before his ballet career began, Blum co-edited Gil Blas, the great French literary paper, and wrote art criticisms that inform us about his aesthetic stance and interest in modernism. For example, Blum wrote the preface to the catalogue of an early exhibition of cubist art in 1912. Another aspect of his life concerns his friendship with Marcel Proust. Proust’s letters frequently mention Blum, especially because it was he who helped Proust find a publisher for the first volume of A La Recherche du Temps Perdu. As artistic director of the Théâtre de Monte-Carlo, Blum worked with many important playwrights of his generation and, later in 1932, some of the greatest choreographers such as Balanchine, Massine, Fokine, and Nijinska, providing them with the resources for their unique choreographies. His Ballets Russes de Monte-Carlo and Ballets de Monte-Carlo toured extensively and brought brilliant Russian and European dancers to America during the 1930s. Many escaped to the United States in the wake of World War II. Entrapped in Paris during the Nazi Occupation, Blum was rounded up with 742 other Jewish intellectuals and killed in the Holocaust.

Ballets russes --- Choreographers --- Publishers and publishing --- Chorégraphes --- Editeurs et édition --- History. --- Blum, René,