By Isa Partsch-Bergsohn
The U.S. took the lead in smooth dance innovation through the Nineteen Sixties while artists akin to Martha Graham, Josse Limbon, Paul Taylor, Alvin Aeiley and Alwin Nikolais crushed eu audiences. as a consequence, the hot German Tanztheatre revitalized German theatre traditions with its new content material and alertness of a few of the USA sleek dance options. This e-book discusses either parallels and differences among the heritage of recent dance within the usa and Germany. This paintings examines the phenomena of the fashionable dance circulation among 1920 and 1968 in a global context, targeting its beginnings in Europe and its philosophy as formulated by way of Dalcroze, Laban, Wigman, and Jooss. The e-book lines the results of the 3rd Reich on those artists in addition to their effect at the constructing American smooth dance circulation during the postwar years, with a specific concentrate on Kurt Jooss and the Tanztheatre.
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Additional resources for Modern Dance in Germany and the United States: Crosscurrents and Influences
Sample text
The Dying Swan,” a classically conceived dance, showed a new expressiveness within the classical form. Duncan inspired Fokine to explore new ways of choreographing for the ballet stage, but, ironically, she exerted her strongest influence indirectly on twentieth-century Russian ballet, which incorporated dancing “ à la Duncan” into its vocabulary. Duncan’s greatest impact during her lifetime, however, was as a performer in Germany, the country which, since Noverre’s years in Stuttgart, had produced no original dance tradition.
Thus, the production of Orfeo ed Euridice exemplified to many contemporaries, particularly in the field of music, the idea of “Gesammtkunstwerk” (Total Work of Art) in Richard Wagner’s sense. Dalcroze reached the highpoint of his career with this production of Orpheus, which attracted the European artistic elite to the model city Hellerau. 53 Mary Wigman, at this time still Marie Wigmann, was one of Dalcroze’s students at Hellerau. She was not altogether impressed with Festive Orpheus judging from a 1913 diary entry: “Music as foundation on one side, twenty vertically lined up gestures were solely connected by external reasons of form, missing any dynamic motivation.
Her death in 1927 was just as eccentric as her life; it ended in a tragic car accident in Nice. Amazingly, Duncan’s vision of hundreds of children moving to music became reality in a way nobody could have imagined during her lifetime. After a number of very difficult years trying to survive, some of her former pupils who did not go on tour to the United States formed a new group and toured in Russia during the entire pre-war decade. When it was time for them to retire, they started to teach “artistic gymnastics” or “Duncan plastiques” in schools.