By Susan Jones

This ebook explores the complicated courting among literature and dance within the period of modernism. in this interval an remarkable discussion among the 2 artwork varieties happened, in response to a standard aesthetics initiated via modern discussions of the physique and gender, language, formal experimentation, primitivism, anthropology, and smooth applied sciences akin to images, movie, and mechanisation. The ebook strains the origins of this courting to the philosophical antecedents of modernism within the 19th century and examines experimentation in either paintings kinds. The e-book investigates dance's impression at the modernists' critique of language and exhibits the significance to writers of choreographic ideas by way of dancers of the fin de siecle, of the Ballets Russes, and of eu and American experimentalists in non-balletic varieties of smooth dance. A reciprocal courting happens with choreographic use of literary textual content. Dance and literature meet at the moment on the website of formal experiments in narrative, drama, and poetics, and their courting contributes to universal aesthetic modes akin to symbolism, primitivism, expressionism, and constructivism. Focussing at the first half the 20 th century, the ebook locates those transactions in a transatlantic box, giving weight to either ecu and American contexts and illustrating the significance of dance as a conduit of modernist preoccupations in Europe and the U.S. via styles of impact and alternate. Chapters discover the shut interrelationships of writers and choreographers of this era together with Mallarme, Nietzsche, Yeats, Conrad, Woolf, Lawrence, Pound, Eliot, and Beckett, Fuller, Duncan, Fokine, Nijinsky, Massine, Nijinska, Balanchine, Tudor, Laban, Wigman, Graham, and Humphrey, and get well radical experiments via ignored writers and choreographers from David Garnett and Esther Forbes to Andree Howard and Oskar Schlemmer.

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44 41 Guillaume Apollinaire, Calligrammes: Poems of Peace and War, trans. Anne Hyde Greet (Berkeley and Los Angeles: University of California Press, 1980), 198–9. 42 Ouspensky’s work was not only a product of his association with George Gurdjieff, but also an offshoot of, and departure from, Italian futurism. 43 Marjorie Perloff, The Futurist Moment: Avant-Garde, Avant-Guerre, and the Language of Rupture (Chicago: Chicago University Press, 2003), 130. 44 Larionov and Goncharova also contributed to Kruchenykh’s interdisciplinary work Myrskonsta (1912), for which Larionov produced a Rayonist composition for the opening page, while Goncharova illustrated a long text of prose-poetry, ‘Journey across the Whole World’, which was placed at the centre of the collection.

Memories of rehearsing for Yeats, see Ninette de Valois, Step by Step (London: W. H. Allen, 1977). She wrote of the experience of choreographing Yeats’s plays as ‘more a question of feeling the play rather than intellectually trying to understand every line’ (183). 73 On Yeats and Michio Ito, see Liam Miller, The Noble Drama of W. B. Yeats (Dublin: Dolmen Press, 1977), 224–31. On Ito’s life and work, see also Caldwell, Michio Ito. 74 Richard Allen Cave, Introduction to W. B. Yeats, King of the Great Clock Tower and A Full Moon in March (Ithaca, NY, and London: Cornell University Press, 2007), xxxi.

63 Ellis, Plays of W. B. Yeats, chapter 4 is entitled ‘Dialogue into Dance’ (247). 64 For an account of Michio Ito see Helen Caldwell, Michio Ito: The Dancer and his Dances (Berkeley and Los Angeles: University of California Press, 1977). Pound was working on Fenellosa’s manuscripts of the Noh plays for publication in 1913 (see Chapter 9). 65 Yeats worked closely with Craig, the stage designer and theatrical producer whom he had first met in 1902. He published ‘The Tragic Theatre’ in Craig’s journal The Mask in 1910.

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