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Born in Vienna in 1890, Gertrud Bodenwieser became a leading exponent of Ausdruckstanz (Expressionist Dance) during the 1920s and 1930s, developing a definitive personal style and a philosophy of dance that distinguished her from all her contemporaries. In 1938 she emigrated to Australia to start her career afresh with the remaining nucleus of her company from Nazi-occupied Austria. In this collection of writings (initially compiled by Bettina Vernon and posthumously completed by her husband Charles Warren) each contributor highlights Bodenwieser's achievements from a different perspective, with reminiscences from her pupils and company members, together with scholarly studies.
While much has been written about the visual artists and playwrights of early twentieth-century Germany - Nolde, Kandinsky, Kokoschka and others - their equally innovative contemporaries in dance have not been studied so extensively. The development of the New Dance, also called Ausdruckstanz, paralleled that of expressionist art and drama. This study focuses on nine choreographers whose theories, work, aesthetic values and artistic intent convey the variations and commonalities of this dance form. They are Mary Wigman, Gret Palucca, Harald Kreutzberg, Yvonne Georgi, Vera Skoronel, Berthe Trümpy, Niddy Impekoven, Grete Wiesenthal, and Valeska Gert.
Ausdruckstanz, Geschichte, Tagung, Philosophie, Ästhetik, Pädagogik Musik, Kulturgeschichte, Photographie, Theater, Politik, Bühnentanz
Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of methodological approaches and how they can be applied to the study of ballet and modern dance.
Focusing on politics, gender, and identities, a group of international dance scholars provide a broad overview of new methodological approaches – with specific case studies – and how they can be applied to the study of ballet and modern dance. With an introduction exploring the history of dance studies and the development of central themes and areas of concerns in the field, the book is then divided into three parts: politics explores 'Ausdruckstanz' – an expressive dance tradition first formulated in the 1920s by dancer Mary Wigman and carried forward in the work of Pina Bausch and others gender examines eighteenth century theatrical dance – a time when elaborate sets, costumes, and plots examined racial and sexual stereotypes identity is concerned with modern dance. Exploring contemporary analytical approaches to understanding performance traditions, Dance Discourses' pedagogical structure makes it ideal for courses in performing arts and humanities.