By Isa Partsch-Bergsohn
The us took the lead in smooth dance innovation in the course of the Sixties whilst artists corresponding to Martha Graham, Josse Limbon, Paul Taylor, Alvin Aeiley and Alwin Nikolais beaten ecu audiences. to that end, the hot German Tanztheatre revitalized German theatre traditions with its new content material and alertness of a few of the U.S. glossy dance innovations. This ebook discusses either parallels and differences among the background of recent dance within the usa and Germany. This paintings examines the phenomena of the fashionable dance move 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 ebook lines the consequences of the 3rd Reich on those artists in addition to their effect at the constructing American sleek dance stream in the course of the postwar years, with a selected specialize in Kurt Jooss and the Tanztheatre.
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Extra info for Modern Dance in Germany and the United States: Crosscurrents and Influences
Denis had absorbed some of Dalcroze’s ideas about the relation of music to dance movement. After she married Ted Shawn, they established the 51 Denishawn School of Dance, and decided that their dance institute should have some “scientific” foundations. “St. ”13 In retrospect, musicvisualization was not an invention, but an adaptation of Dalcroze’s Eurhythmics. When Ruth St. Denis applied the principle of literally illustrating the structure of the music in her choreographic creations, this misinterpretation of Dalcroze’s method caused a regrettable detour in the progress of the young American Free Dance.
6 He saw in Duncan a first pioneer of the new dance who had rediscovered the body and its natural expressive gestures and intuitively felt its harmony without being able to explain or teach it. Her art and person were inseparable and, thanks to her strong personality, she 44 gained recognition as an artist. 7 Brandenburg pointed precisely to the problem that succeeding generations of dancers tried to solve: Dalcroze, Nijinsky, Laban and Wigman all strove in their work to clarify the relation between movement and music.
Delsarte also taught that gesture is more than speech; it is the direct agent of the heart. These two fundamental notions, that inner movement causes outer movement, and that human gesture directly speaks to the heart, inspired Isadora Duncan, who consciously created dances such as “Marseillaise” (1917) with these principles in mind. When in “Marseillaise” Duncan rose in revolt against World War I, expressing her personal drama and her compassion for mothers in France in gestures of monumental grief, she became a universal voice of European protest.