By Karl Toepfer
Empire of Ecstasy deals a unique interpretation of the explosion of German physique tradition among the 2 wars--nudism and nude dancing, gymnastics and dance education, dance images and feedback, and numerous genres of functionality from solo dancing to mass circulate choirs. Karl Toepfer offers this dynamic topic as an essential and traditionally distinct building of "modern identity." the trendy physique, radiating freedom and tool, looked as if it would Weimar artists and intelligentsia to be the resource of a transgressive power, in addition to the signal and manifestation of robust, mysterious "inner" stipulations. Toepfer indicates how this view of the fashionable physique sought to increase the classy event past the bounds imposed by way of rationalized existence and to go beyond those limits looking for ecstasy. With the aid of a lot unpublished or long-forgotten archival fabric (including many little-known photographs), he investigates the method of creating an "empire" of appropriative impulses towards ecstasy. Toepfer offers the paintings of such famous figures as Rudolf Laban, Mary Wigman, and Oskar Schlemmer, besides less-known yet both attention-grabbing physique tradition practitioners. His e-book is sure to develop into required analyzing for historians of dance, physique tradition, and modernism.
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Additional resources for Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935 (Weimar and Now: German Cultural Criticism)
Example text
In 1912 a luxurious yearbook, Der Rhythmus, was launched in Hellerau, and it did much to advance the sunlit benevolence of Dalcroze's vision, as did the grandiose festival productions of Orpheus (1913) and the Genevan Fete de Juin (1914), a single performance of which was attended by 6,000 spectators. Yet all was not well. Dalcroze faced endless difficulty in persuading public school officials to introduce rhythmic gymnastics into their curricula. Dohrn died in February 1914, and war broke out in July, leaving Dalcroze in no position to maintain funding of the institute.
Although this encyclopedic book, supplemented with photos, tables, and musical examples, came equipped with a rigorous scholarly apparatus, it went through many revised editions until 1930 and apparently enjoyed an unusually large audience for a work that initially appeared as Volume 17 of the Proceedings of the Royal Saxon Society of Sciences. Bücher, an anthropologist, sought to uncover an archaic relation between labor and rhythm by analyzing a vast number of work songs and chants as well as performance conditions of premodern societies throughout the world.
Before his fatal accident, Dohrn (18781914) was secretary for the Deutscher Werkbund, a < previous page page_15 next page > < previous page page_16 next page > Page 16 loose union of workshop artisans dedicated to the reform of urban and industrial culture. He came from a distinguished family of scientists and educators, and his ambition apparently was to become a kind of golden prince of modern art. Dohrn agreed to provide the financial backing to open the institute in Hellerau, a suburb of Dresden.