{"id":1257,"date":"2020-01-31T14:20:52","date_gmt":"2020-01-31T13:20:52","guid":{"rendered":"http:\/\/artinterview.bai-bao.fr\/?post_type=critique&p=1257"},"modified":"2022-12-31T13:07:31","modified_gmt":"2022-12-31T12:07:31","slug":"danse","status":"publish","type":"critique","link":"https:\/\/artinterview.com\/en\/critique\/danse\/","title":{"rendered":"Danse"},"content":{"rendered":"\n
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Isadora Duncan \u00a9 Arnold Genthe<\/figcaption><\/figure>\n\n\n\n

Un grand pas en avant<\/h4>\n\n\n\n

Le XXe si\u00e8cle \u00e9branle la tradition d\u2019une danse acad\u00e9mique. Des cr\u00e9ateurs ont boulevers\u00e9 les corps et graphies d\u2019un ancien monde, celui d\u2019un XIXe si\u00e8cle engonc\u00e9 dans une posture bourgeoise. Les danseurs classiques, jusqu\u2019alors mettaient en valeur une technique sublimant seulement le mouvement des membres sup\u00e9rieurs et inf\u00e9rieurs. La libert\u00e9 des corps \u00e9tait alors taboue. Alors que le couturier Paul Poiret d\u00e9lace les corsets et lib\u00e8re d\u2019un carcan social la gente f\u00e9minine, sur les sc\u00e8nes occidentales, \u00e9paules, bassin, et ventre prennent vie.

Pionni\u00e8re du genre, annonciatrice de la danse moderne, Isadora Duncan (1877-1927), la belle Am\u00e9ricaine, incarne l\u2019\u00e9motion spontan\u00e9e et personnifie la danse libre. Native de San Francisco, elle\u00a0 traverse les incertitudes d\u2019un temps suspendu \u00e0 la conscience d\u2019un corps sujet, tour \u00e0 tour expressionniste, naturel ou th\u00e9\u00e2tralis\u00e9. Inspir\u00e9e de l\u2019esth\u00e9tique de la Gr\u00e8ce antique, elle s\u00e9duit par son \u00e9nergie et sa libert\u00e9, la vieille Europe d\u00e8s 1903. En dansant pied nu, elle exprime le refus de l\u2019acad\u00e9misme du ballet classique. Ses \u00e9coles \u00e0 Berlin, \u00e0 Moscou ou \u00e0 Bellevue, ses spectacles \u00e0 Londres et \u00e0 Paris et sa mort tragique \u00e0 Nice, \u00e9trangl\u00e9e par son \u00e9charpe qui se prit dans la roue de sa voiture, l\u2019ont port\u00e9e dans la l\u00e9gende des rebelles.

Et puis il y a eu les Ballets russes. Sous l\u2019autorit\u00e9 de Serge Diaghilev, la compagnie met en sc\u00e8ne une r\u00e9volution esth\u00e9tique en associant \u00e0 la danse, la peinture, la musique et la po\u00e9sie. Cette aventure artistique, fondatrice d\u2019un \u00e9lan qui traversera le XXe si\u00e8cle, est incarn\u00e9e par Vaslav Nijinski, celui qui se voulait \u00ab\u00a0le clown de Dieu\u00a0\u00bb. Devant ses audaces chor\u00e9graphiques, Auguste Rodin \u00e9crit que sa danse r\u00e9v\u00e8le \u00ab\u00a0rien que des attitudes et les gestes d\u2019une animalit\u00e9 \u00e0 demi consciente.\u00a0\u00bb En avance sur son temps, Nijinski cr\u00e9e sur la partition musicale d\u2019Igor Stravinski, en 1913,\u00a0\u00a0Le Sacre du printemps<\/em>. Un rituel pa\u00efen pr\u00e9cipitant les spectateurs au c\u0153ur d\u2019un paganisme iconoclaste et provoquant le scandale.<\/p>\n\n\n\n

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L’une des centaines de versions du “Sacre du printemps”, ici \u00e0 Londres en 2005 par le Royal Ballet. Aucune photo de la version de 1913 n’existe. Cr\u00e9dits : robbie jack\/Corbis – Getty<\/figcaption><\/figure>\n\n\n\n

Dans les ann\u00e9es 1970, la chor\u00e9graphe allemande Pina Bausch (1940-2009) repr\u00e9sente dans la d\u00e9rision, le d\u00e9sespoir et une subjectivit\u00e9 absolue, la vacuit\u00e9 des relations humaines. Pendant plus d\u2019un quart de si\u00e8cle, elle recomposera une nouvelle grammaire corporelle en d\u00e9cloisonnant le th\u00e9\u00e2tre et la danse pour proposer un spectacle inclassable. La directrice du Tanztheater<\/em> de Wuppertal est devenue, jusqu\u2019\u00e0 sa disparition, la papesse de la sc\u00e8ne internationale.<\/p>\n\n\n\n

Autre grand nom de la danse contemporaine, le chor\u00e9graphe am\u00e9ricain Merce Cunningham (1919-2009). Privil\u00e9giant le mouvement, la maestria du temps et l\u2019abstraction aux r\u00e8gles convenues, il concilie danse et high-tech. Le ma\u00eetre de la post modern dance<\/em> s\u2019impose comme la figure \u00ab classique \u00bb de l\u2019avant-garde. Homme sensible \u00e0 l\u2019instant pr\u00e9sent, il a pour outil l\u2019ordinateur. Modification du temps, stockage de s\u00e9quences, jeux al\u00e9atoires, approche spatiale sont pour l\u2019artiste sources de r\u00e9invention permanente. La danse contemporaine dessine dans les mouvements l\u2019aventure esth\u00e9tique, sociale et parfois politique de notre \u00e9poque.<\/p>\n\n\n\n

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Danse post-moderne – Robert Swinston \/ Merce Cunningham<\/figcaption><\/figure>\n\n\n\n

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