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Erik Belton Evers Bruhn (3 October 1928 – 1 April 1986) was a Danish danseur, choreographer, artistic director, actor, and author. ==Biography== Erik Bruhn was born in Copenhagen, Denmark, the fourth child and first son of Ellen (née Evers), owner of a hairdressing salon, and third child of Ernst Bruhn. His parents married shortly before his birth.〔Gruen, John ''Erik Bruhn: Danseur Noble'' (1979) ISBN 0-670-29771-2〕 Bruhn began training with the Royal Danish Ballet when he was nine years old, and made his unofficial début on the stage of Copenhagen's Royal Opera House in 1946, dancing the role of Adonis in Harald Lander's ballet ''Thorvaldsen.''〔Gruen, pg. 33〕 He was taken permanently into the company in 1947 at the age of eighteen. Bruhn took the first of his frequent sabbaticals from the Danish company in 1947, dancing for six months with the short-lived Metropolitan Ballet in England, where he formed his first major partnership, with the Bulgarian ballerina Sonia Arova. He returned to the Royal Danish Ballet in the spring of 1948 and was promoted to soloist in 1949, the highest level a dancer can attain in the Danish ballet. Later in 1949, he again took a leave of absence and joined American Ballet Theatre in New York City, where he would dance regularly for the next nine years, although his home company continued to be the Royal Danish Ballet. The turning point in Bruhn's international career came on 1 May 1955 with his début in the role of Albrecht in ''Giselle'' partnering Dame Alicia Markova, nearly twenty years his senior, in a matinée with Ballet Theatre in New York after only three days of rehearsal.〔Bruhn, Erik ''Beyond Technique'' (1968) ISBN 0-384-06086-2〕 The performance caused a sensation. Dance critic John Martin, writing in the ''New York Times'', called it "a date to write down in the history books, for it was as if the greatest Giselle of today were handing over a sacred trust to what is probably the greatest Albrecht of tomorrow." In an article entitled "The Matinée that Made History" in ''Dance News'' in June 1955, P.W. Machester wrote:
Bruhn formally resigned from the Danish ballet in 1961, by which time he had become internationally known as a phenomenon, although he continued to dance periodically with the company as a guest artist. In May 1961, he returned to Ballet Theatre for its New York season. In its 5 May issue, ''Time'' magazine published a major article on the dancer and his art:
During the next 10 years, Bruhn formed long relationships as a guest artist not only with Ballet Theatre but with most all of the major ballet companies in Europe and North America, including the New York City Ballet, the Joffrey Ballet, the National Ballet of Canada, the Paris Opera Ballet, and London's Royal Ballet. He was best known for his lead roles in ''La Sylphide'', ''Giselle'', Frederick Ashton's ''Romeo and Juliet'', and ''Swan Lake''. John Cranko made ''Daphnis and Chlöe'' on him in 1962 at the Stuttgart Ballet, which Bruhn considered his favorite from amongst the ballets created specifically for him.〔Gruen, pg. 126〕 He was also acclaimed in dramatic roles, such as Jean in Birgit Cullberg's ''Miss Julie'', the Moor in José Limón's ''The Moor's Pavane'', and Don José in Roland Petit's ''Carmen''. In addition to Sonia Arova, Bruhn had significant dance partnerships with a large and unusually varied number of ballerinas: the Americans Cynthia Gregory, Nora Kaye, Allegra Kent, and Maria Tallchief; the Russian Natalia Makarova; the Dane Kirstin Simone; the British Nadia Nerina; and, most famously, with the Italian prima ballerina Carla Fracci. In his book, ''Beyond Technique'' (1968), Bruhn discussed his thoughts on partnering:
Bruhn was made a Knight of the Order of the Dannebrog, one of Denmark's highest honors, in 1963, the same year he was awarded the Nijinsky Prize in Paris.〔Gruen, pg. 131〕 After retiring as a ''Danseur Noble'' in 1972, Bruhn danced character roles, such as Madge the Witch in ''La Sylphide'', Dr. Coppelius, and ''Petrushka''. He was director of the Swedish Opera Ballet from 1967 to 1973 and the National Ballet of Canada from 1983 until his death in 1986. Although twice offered the directorship of the Royal Danish Ballet, he twice declined the post. His productions of full-length Classical Ballets, such as ''La Sylphide'', ''Giselle'', ''Coppélia'', and his somewhat controversial ''Swan Lake'' for the National Ballet of Canada, were well received, as were his stagings of pas de deux from the Bournonville repertoire. A superb teacher and coach, Bruhn was dedicated to imparting purity of form and dance as drama not spectacle. He believed in "complete identification" with the character being portrayed, "but under complete control. Because if you lose yourself completely, you cannot communicate."〔 In 1974, he played a leading role in the stage play ''Rashomon'' with Susse Wold in Denmark, for which he won acclaim. Bruhn met Rudolf Nureyev, the celebrated Russian dancer, after Nureyev defected to the West in 1961. Nureyev was a great admirer of Bruhn, having seen filmed performances of the Dane on tour in Russia with American Ballet Theatre, although stylistically the two dancers were very different. Bruhn became the great love of Nureyev's life〔Kavanagh, Julie ''Nureyev: The Life'' (2007) ISBN 978-0-375-40513-6〕〔(【引用サイトリンク】title=Literary Review )〕 and the two remained close for 25 years, until Bruhn's death.〔(【引用サイトリンク】title=Rudolf Nureyev Foundation Official Website )〕 Erik Bruhn died in Toronto General Hospital on 1 April 1986 at the age of 57. His death was attributed to lung cancer. However, according to Pierre-Henri Verlhac, he might have died of AIDS.〔Verlhac, Pierre-Henri ''Nurejew: Bilder eines Lebens (Nureyev: Images of a Life)''(2008) ISBN 978-3-89487-606-7〕 He is buried in an unmarked grave at Mariebjerg Cemetery in Gentofte, an affluent northern suburb of Copenhagen, near the house where he grew up. Dance critic John Rockwell, in his obituary of Bruhn, noted:
Clive Barnes had named Erik Bruhn "the greatest male classical dancer of his time"〔"A Great Dancer Retires" by Clive Barnes, NY Times 16 January 1972〕 when Bruhn retired in 1972. In an appreciation of Bruhn's accomplishments published in The New York Times shortly after his death, dance critic Anna Kisselgoff said:
In a codicil to his will, Bruhn left part of his estate for the establishment of The Erik Bruhn Prize, recognizing dancers from the three companies with which he was most closely associated: the Royal Danish Ballet, American Ballet Theatre, and the National Ballet of Canada, each of which are invited to send one male and one female dancer to the competition, held in Toronto, Canada. Bruhn specified that the prize be awarded to two young dancers who "reflect such technical ability, artistic achievement and dedication as I endeavored to bring to dance." Competitors for the prize are between the ages of 18 and 23 and are selected by their respective Artistic Directors. For the competition, each dancer performs in a classical pas de deux and variations and a contemporary pas de deux or solo work.〔(【引用サイトリンク】title=The Erik Bruhn Prize ) 〕 The first Erik Bruhn Prize was awarded in 1988. Bruhn authored ''Beyond Technique'' with photos by Fred Fehl (1968, reissued as No. 36 of "Dance Perspectives" in 1973), and with Lillian Moore he co-authored ''Bournonville and Ballet Technique: Studies and Comments on August Bournonville's Etudes Choregraphiques'' (1961, reprinted 2005). He was the subject of the book ''Erik Bruhn: Danseur Noble'' (1979) by John Gruen, written with his cooperation and based in part on extensive interviews. A 2008 biography in Danish by Alexander Meinertz, ''Erik Bruhn – Billedet indeni (The Picture Within),'' has yet to be translated into English. Bruhn was posthumously recognized in 1987 for "exemplary contributions to Canada and its culture" as the first recipient of the annual Pagurian Award for Excellence in the Arts. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Erik Bruhn」の詳細全文を読む スポンサード リンク
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