{"id":6708,"date":"2023-02-11T09:51:25","date_gmt":"2023-02-11T09:51:25","guid":{"rendered":"https:\/\/dev2023.sergelifar.org\/choregraphies\/le-chevalier-et-la-demoiselle\/"},"modified":"2024-10-30T13:52:11","modified_gmt":"2024-10-30T12:52:11","slug":"le-chevalier-et-la-demoiselle","status":"publish","type":"page","link":"https:\/\/www.sergelifar.org\/en\/choregraphies\/autres-ballets\/le-chevalier-et-la-demoiselle\/","title":{"rendered":"Le Chevalier et la Damoiselle"},"content":{"rendered":"<div id=\"pl-6708\"  class=\"panel-layout\" ><div id=\"pg-6708-0\"  class=\"panel-grid panel-no-style\" ><div id=\"pgc-6708-0-0\"  class=\"panel-grid-cell\" ><div id=\"panel-6708-0-0-0\" class=\"so-panel widget widget_sow-editor panel-first-child panel-last-child\" data-index=\"0\" ><div\n\t\t\t\n\t\t\tclass=\"so-widget-sow-editor so-widget-sow-editor-base\"\n\t\t\t\n\t\t>\n<div class=\"siteorigin-widget-tinymce textwidget\">\n\t<p>Ballet en 2 actes<\/p>\n<p>Premi\u00e8re : le 2 juillet 1941 \u00e0 l\u2019Op\u00e9ra de Paris<\/p>\n<p>Musique&nbsp;: Philippe Gaubert<\/p>\n<p>Argument&nbsp;(ou livret) : Serge Lifar<\/p>\n<p>D\u00e9cors&nbsp;et costumes&nbsp;: Adolphe Mouron, dit Cassandre<\/p>\n<p>Direction musicale&nbsp;: Louis Fourestier<\/p>\n<p>Derni\u00e8re repr\u00e9sentation par le Ballet de l\u2019Op\u00e9ra de Paris, 1957<\/p>\n<p>Entr\u00e9e au r\u00e9pertoire de l\u2019\u00c9cole de Danse en 1996<\/p>\n<p>Derni\u00e8re repr\u00e9sentation, Spectacle de l\u2019\u00c9cole de Danse, 11.4.1997<\/p>\n<p>Principaux interpr\u00e8tes&nbsp;: Distribution \u00e0 la cr\u00e9ation<\/p>\n<p>Micheline Bardin (un Berger - r\u00f4le travesti), Yvette Chauvir\u00e9 (une noble Dame), Marianne Ivanoff (une Berg\u00e8re),&nbsp; Marie-Louise Didion, Paulette Dynalix, Henriette Grellier, Genevi\u00e8ve Kergrist (quatre Biches), Serge Lifar (le Chevalier), Paul Goub\u00e9, Serge Peretti, Roger Ritz (trois Damoiseaux), Solange Schwarz (la Damoiselle)<\/p>\n<p style=\"text-align: center;\">* * * * * * * *<\/p>\n<p>\u00ab<em> Le Chevalier et la Damoiselle<\/em> est le fruit d\u2019un long travail de pr\u00e9paration. Tout d\u2019abord, avant d\u2019aborder la r\u00e9alisation chor\u00e9graphique, j\u2019ai \u00e9tudi\u00e9 dessins et descriptions d\u2019\u00e9poque, afin de reconstituer la plastique des tournois.&nbsp; A la Biblioth\u00e8que Nationale, j\u2019ai d\u00e9couvert deux danses et me suis empress\u00e9 de les introduire dans mon ballet&nbsp;: le <em>robardel<\/em> et le <em>chapelet<\/em>, tels qu\u2019ils figuraient au tournoi de Chauvency, en 1285. Le <em>robardel<\/em> (\u00ab&nbsp;petit voleur&nbsp;\u00bb) est un pr\u00e9curseur des pastorales du XVIII<sup>e <\/sup>si\u00e8cle. Il met en sc\u00e8ne un pastoureau qui vole un baiser \u00e0 une jeune berg\u00e8re. Moins pr\u00e9cieuse qu\u2019elle ne le sera plus tard, cette sc\u00e8ne est d\u2019une galanterie toute spontan\u00e9e, villageoise, sans fadeur. Ce ne sont pas encore les \u00ab&nbsp;pas de bourr\u00e9e&nbsp;\u00bb et les pignets mani\u00e9r\u00e9s, mais des sautillements, des <em>ru de vache<\/em>, des <em>ruades<\/em>, des <em>pied crois\u00e9<\/em> d\u2019un effet plus primitif. [\u2026] Un trait caract\u00e9ristique du <em>Chevalier<\/em> \u2013 et qui, depuis, a marqu\u00e9 toutes mes \u0153uvres \u2013 c\u2019est l\u2019important accord\u00e9e aux mains. Le seul reproche qu\u2019on puisse faire l\u00e9gitimement au vocabulaire acad\u00e9mique, c\u2019est la pauvret\u00e9 d\u2019expression, la monotonie des ports de bras et des positions de la main. Il existe cinq positions des bras et <em>une<\/em> <em>seule<\/em> de la main, fort belle d\u2019ailleurs, puisqu\u2019elle semble s\u2019inspirer du <em>Saint Jean-Baptiste<\/em> de L\u00e9onard de Vinci, mais insuffisante. Dans <em>Le Chevalier et la Damoiselle<\/em>, [\u2026] les mains des danseurs jouent un r\u00f4le essentiel et deviennent le vrai support du \u00ab leit-motiv \u00bb plastique. \u00bb<\/p>\n<p>Serge Lifar, <em>Le livre de la danse<\/em>, Les Editions du Journal Musical Fran\u00e7ais, Paris, 1954, p. 174-175<\/p>\nngg_shortcode_0_placeholder\n<\/div>\n<\/div><\/div><\/div><\/div><\/div>","protected":false},"excerpt":{"rendered":"<p>Ballet en 2 actes Premi\u00e8re : le 2 juillet 1941 \u00e0 l\u2019Op\u00e9ra de Paris Musique&nbsp;: Philippe Gaubert Argument&nbsp;(ou livret) : Serge Lifar D\u00e9cors&nbsp;et costumes&nbsp;: Adolphe Mouron, dit Cassandre Direction musicale&nbsp;: Louis Fourestier Derni\u00e8re repr\u00e9sentation par le Ballet de l\u2019Op\u00e9ra de Paris, 1957 Entr\u00e9e au r\u00e9pertoire de l\u2019\u00c9cole de Danse en 1996 Derni\u00e8re repr\u00e9sentation, Spectacle de <\/p>\n","protected":false},"author":2,"featured_media":0,"parent":7158,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"template-sousmenu.php","meta":{"_acf_changed":false,"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-6708","page","type-page","status-publish","hentry"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.3 - 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