Prométhée est-il un héros dansant ? : Contraintes et expressions du mythe dans la danse

Abstract : It is to be noted that in the choreographic field, the Prometheus myth has not inspired as much as in literature or music. It seems to have attracted the worlds of academic dance as well as some choreographers from modern-day Germany - and to a large extent, these were men. Neither the romantic ballet nor modern American modern dance was interested in this story. The present article examines some avatars of the myth which have really left a print on dance history; it questions a contrario why, in the field of dance, this topic reveals itself to be incompatible with other viewpoints. Following along the path of " action ballet " and mythological ballets of the 18th century, the choreodrama created by Salvatore Vigano (1801 and 1813) emphasises the humanist vision of the Enlightenment of Prometheus, the civilizer. However, this was not reconcilable with the romantic ballet form then in vogue across Europe, and was dropped by dance forms in the 19th century. One had to wait till 1929 when the Prometheus choreographed by Serge Lifar showed a successful transposition of the myth. Lifar totally identified himself to Prometheus, bringing to the academic dance a new breath and asserting the place and the authority for a male dance. To conclude, we could not look for Promethean figures in dance without immediately evoking the two pioneers in modern dance, Loïe Fuller and Isadora Duncan. They radically subverted the conception, the techniques, the pedagogy and the place of dance.
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Submitted on : Tuesday, June 7, 2011 - 8:07:31 PM
Last modification on : Tuesday, May 22, 2018 - 8:40:06 PM

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  • HAL Id : ujm-00598909, version 1

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Hélène Marquié. Prométhée est-il un héros dansant ? : Contraintes et expressions du mythe dans la danse. Claudine ARMAND, Pierre DEGOTT, Jean-Philippe HERBERLÉ (Dir.). Créatures et créateurs de Prométhée, Presses universitaires de Nancy, pp. 301-318, 2010. ⟨ujm-00598909⟩

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