By Bettina Vernon-Warren, Charles Warren

First released in 1999. Routledge is an imprint of Taylor & Francis, an informa corporation.

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Extra info for Gertrud Bodenwieser and Vienna’s Contribution to Ausdruckstanz

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Frequently the window-frames are neoclassical, composed of columns or indications thereof, with capitals, cornices, even triangular pediments, each resembling a miniature of an ancient temple. Yet together, in straight lines, these window rows seem to parade like Lipizzaner stallions making an entrée on to the coffee colored turf of the Imperial Castle’s Spanish Riding School, or like the defile of the corps in the ballet Fairy Doll on to the stage of the Court, later State, Opera House. Looking down the street, there is a uniformity of building height, a seamless, rulered perspective.

The first Black the boy had seen surprised him. The hair of the man’s head and beard was absolutely white. His clothes were formal for an outing into the open air. Sitting on a bench at the edge of a grassy expanse, reading a book, the white-haired black-skinned man’s posture was so upright, so imposing that he looked like an emperor. ’ the boy exclaimed to the family cook who, exceptionally, was his guardian for this afternoon walk. ‘No, he’s a professor and from America, I’ve seen him before’.

The shape of the houses, be they recent or venerable, and of the entire street has remained constant. The houses merge into a block form, longer than high. This oblong has a certain mass, but avoids being heavy because prominent features of the house faςades are windows. They occur as individual units in repetititive rows. Frequently the window-frames are neoclassical, composed of columns or indications thereof, with capitals, cornices, even triangular pediments, each resembling a miniature of an ancient temple.

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