|
| |
| | SFBG A+E November 1, 2000 Misha mash |
 | | The dances made by the postmoderns have been childlike, conceptual, antivirtuosic, anti-expressionist, self-consciously political, analytical, pedestrian, and democratic, but never all at once. | | | Though definitions of postmodern found in other arts theories (literary, visual, architectural) can be applied to many dances of the postmodern era, none apply across the board. | | | White Oak is the manifestation of Baryshnikov's long-standing attraction to modern dance, one that began during his ballet career and evolved when he was director of American Ballet Theatre in the '80s. |
|
http://www.sfbg.com/AandE/35/05/misha.html
(718 words)
|
|
| |
| | 20th century concert dance - Wikipedia, the free encyclopedia |
| | Choreographers using a postmodernist process may produce works that are classical, romantic, expressionist, modernist or postmodernist (etc) in appearance (see Postmodernism). | | | Although technically 20th century concert dance, the following dance forms are considered under the separate category of Ballet or 20th century ballet: | | | Au, S. Ballet and Modern Dance (World of Art). |
|
http://en.wikipedia.org/wiki/20th_century_concert_dance
(313 words)
|
|
| |
| | Encyclopedia: 20th century concert dance |
| | Choreographers using a postmodernist process may produce works that are classical, romantic, expressionist, modernist or postmodernist (etc) in appearance (see Postmodernism). | | | Although technically 20th century concert dance, the following dance forms are considered under the separate category of Ballet or 20th century ballet: | | | Au, S. Ballet and Modern Dance (World of Art). |
|
http://www.nationmaster.com/encyclopedia/20th-century-concert-dance
(341 words)
|
|
| |
| | "Dance of Death" review by Don Shewey |
| | Nor does it have the spectral moodiness of his late, philosophical, expressionist masterpieces such as The Ghost Sonata or A Dream Play (which avant-garde maestro Robert Wilson staged beautifully last year in a production for Stockholms Stadsteater, seen at the Brooklyn Academy of Music). | | | Dance of Death was written by Swedens master dramatist August Strindberg a century ago, and it has earned its place in theater history as one of the first plays to portray that love/hate with brutal honesty. | | | Other than that, its difficult to make a case for Dance of Death as a great play. |
|
http://www.donshewey.com/theater_reviews/dance_of_death.htm
(424 words)
|
|
| |
| | University of Brighton Faculty of Arts and Architecture Research in Arts and Architecture |
| | Key areas of research within his work are; writing text for dance, new musical forms especially in relation to dance, composition for voice, the exploration of an expressionist dance theatre language; interdisciplinarity, convergence arts and hybrid performance languages; humour, stand-up dance and performance skills; dance for camera; dance and learning difficulties. | | | On 'Absurditties'; 'Her wordplay is as sharp and humorous as her dance is muscular and controlled and in Absurditties she juggles both elements with dazzling dexterity crafting a deliciously witty, mercurial entertainment around the themes of food, love and mathematics' The Scotsman, August 1995. | | | This Arts Council / BBC Dance for Camera Award of £50K plus an additional £2K research and development award, was given to Liz Aggiss choreographer / performer in collaboration with Billy Cowie choreographer / composer and David Anderson Director, to make an eight minute dance for camera titled 'Motion Control' produced by Zed Films. |
|
http://www.bton.ac.uk/arts/research/3_0_research_activity/3_2_0_research_staff/3_2_10_cowie_billie.htm
(424 words)
|
|
| |
| | 20th century concert dance - Wikipedia, the free encyclopedia |
| | Choreographers using a postmodernist process may produce works that are classical, romantic, expressionist, modernist or postmodernist (etc) in appearance (see Postmodernism). | | | Postmodern dance falls under two catergories due to its complex nature (see Postmodernism). | | | 20th century concert dance is the name given to a category of dance forms that include: |
|
http://www.encyclopedia-online.info/20th_century_concert_dance
(424 words)
|
|
| |
| | Internet Dance Resources - University of Wisconsin-Madison |
| | In German; has a collection of brief dance biographies as well as videos and articles on expressionist dance. | | | One of the largest archive of dance in the world; includes ballet, ethnic, modern, social, and folk dance. | | | The dance collection of the University of California-Berkeley, a vast collection of ballet, modern and Hollywood musicals. |
|
http://www.library.wisc.edu/guides/Dance/internet.htm
(424 words)
|
|
| |
| | 20th century concert dance - Wikipedia, the free encyclopedia |
| | Choreographers using a postmodernist process may produce works that are classical, romantic, expressionist, modernist or postmodernist (etc) in appearance (see Postmodernism). | | | Postmodern dance falls under two catergories due to its complex nature (see Postmodernism). | | | Although technically 20th century concert dance, the following dance forms are considered under the separate category of Ballet or 20th century ballet: |
|
http://en.wikipedia.org/wiki/20th_century_concert_dance
(323 words)
|
|
| |
| | Butoh Net: The World Of Butoh Dance |
| | It combines dance, theater, improvisation and influences of Japanese traditional performing arts with German Expressionist dance (Neue Tanz) and performance art to create a unique performing art form that is both controversial and universal in its expression. | | | Dance festivals have featured performances by Butoh artists since the 1960s, but more recently festivals have been held which are exclusively devoted to Butoh. | | | Butoh is a contemporary avant-garde dance form which originated in Japan and which was first performed there in 1959. |
|
http://www.butoh.net
(419 words)
|
|
| |
| | 20th century concert dance - Open Encyclopedia |
| | Choreographers using a postmodernist process may produce works that are classical, romantic, expressionist, modernist or postmodernist (etc) in appearance (see Postmodernism). | | | Postmodern dance falls under two catergories due to its complex nature (see Postmodernism). | | | 20th century concert dance is the name given to a category of dance forms that include: |
|
http://open-encyclopedia.com/20th_century_concert_dance
(286 words)
|
|
| |
| | German choreographer Pina Bausch to perform Oct. 18: 10/99 |
| | Born in 1940 in Solingen, Germany, Bausch studied in Essen at the Folkwang School, birthplace of the Jooss Ballet founded by expressionist choreographer Kurt Jooss. | | | When Bausch conducts a rehearsal of her dance troupe at 7 p.m. | | | Based in the small industrial German city of Wuppertal, the Pina Bausch Tanztheater (dance theater) Wuppertal is known worldwide for its innovative blending of dance, theater, music and visual arts in a format that often includes speaking, singing, chanting and props. |
|
http://www.stanford.edu/dept/news/report/news/1999/october13/bausch-1013.html
(817 words)
|
|
| |
| | Diplomatic Traffic |
| | Revolutionary, provocative, admired: in early 20th Century Vienna, dancers and choreographers created a sensation with Ausdruckstanz (Expressionist Dance, but really Modern Dance in its widest sense) which influenced generations of dancers and continues to play an important role for contemporary dance and dance therapy. | | | The exhibition, based on the archives of the Austrian Theatre Museum, Vienna, will document particularly the work of Rudolf Laban, Grete Wiesenthal, Gertrud Bodenwieser and Rosalia Chladek. | | | The Roots, the Stars, and the Legacy of Ausdruckstanz |
|
http://www.diplomatictraffic.com/calendar_details.asp?ID=517
(100 words)
|
|
| |
| | History and Basics |
| | Although most well-known for his notation system, Laban was actually a pioneer in modern dance, and his type of dance is now termed German Expressionist Dance or Ausdruckstanz, which flourished in the 1920’s and 1930’s(Society of Archivists 1). | | | His main focus was on finding the bodies’ natural rhythms, and expressing mental and emotional states through dance. | | | Laban originally started his notation for personal use, but his versatile, economical, concise, and accurate method seemed to crack the code as far as finally satisfying the requirements for a lasting system. |
|
http://www.acsu.buffalo.edu/~avankirk/English/page2.htm
(610 words)
|
|
| |
| | ToH - Review by Amy Greenfield |
| | The theme starts artfully and playfully in the prologue, where dancer-actor Robert Helpmann (looking like a character from a German Expressionist silent film) watches his Red Shoes co-star Moira Shearer dance as if possessed, a shivering dance of triumphant ecstasy at the moment of consummation: The Dragonfly Dance. | | | I dared to tell him (though my memory was so vague) that I thought The Tales of Hoffmann is as important for dance on film as The Red Shoes. | | | If she does break away, he pursues her relentlessly." But what if the predator is Death himself? |
|
http://www.powell-pressburger.org/Reviews/51_Hoffmann/Hoff01.html
(2673 words)
|
|
| |
| | Paris dance selections |
| | Ohno, who started dancing by chance at 30 in 1936 in expressionist works brought to Japan by pupils of German modern dance pioneer Mary Wigman, co-created butô dance (the dance of darkness in Japanese) with Tatsumi Hijikata after World War II in reaction to the horrors of Hiroshima. | | | he indefatigable Japanese butô dancer-choreographer Kazuo Ohno at 94 defies the Western dance custom of saying farewell to the stage at the relatively youthful age of 40. | | | Most European dancers end up settling into routine teaching or guest choreographing. |
|
http://www.parisvoice.com/00/dec/html/dance.cfm
(2673 words)
|
|
| |
| | LookSmart's Furl - View Item - Dance Magazine: Sol Hurok: America's dance impresario |
| | Pavolva, Isadora Duncan (as well as her disciples the Isadorables), German expressionist Mary Wigman, Spanish dancer Vicente Escudero, Indian traditional dancer Uday Shankar, Trudi Schoop, Martha Graham and her company (although Hurok confided to his daughter Ruth that "all they do is run around in dirty feet"), and Katherine Dunham. | | | Rated 3 in Arts Funding; Dance by bethmcelliott on Oct 25, 2005 at 07:57:28 GMT. | | | LookSmart's Furl - View Item - Dance Magazine: Sol Hurok: America's dance impresario |
|
http://www.furl.net/item.jsp?id=5303801
(145 words)
|
|
| |
| | The Austin Chronicle Arts: Waves Coming to Shore |
| | From there, Bausch revitalized the dance landscape and redefined the art form in order to explore her own expressionist vision. | | | Bausch used every element available to the choreographer and theatre artist to create dances -- or works of dance/theatre -- that were epic in every sense of the word. | | | Costumes came creeping back, sets appeared, and dancers spoke and performed everyday movement as well as technical feats. |
|
http://www.austinchronicle.com/issues/dispatch/1999-10-22/arts_feature.html
(1862 words)
|
|
| |
| | Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz (Choreography and Dance Studies): Current Amazon U.S.A. One-Edition Data |
| | 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. | | | Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz (Choreography and Dance Studies) | | | In 1938 she emigrated to Australia to start her career afresh with the remaining nucleus of her company from Nazi-occupied Austria. |
|
http://www.larrysart.com/books-reviewed/9057550369.html
(210 words)
|
|
| |
| | WVAHKAZ.STO.txt |
| | Ohno's work is an astounding amalgamation of cultures: the German expressionist dance of Mary Wigman, Japanese Noh theater, Onnagata (female roles danced by men), Spanish Flamenco and, in the case of "Water Lilies," French Impressionism. | | | Kazuo Ohno, the co-founder of the Butoh dance movement, has dedicated his life to expressing unspoken mental shadows through dance. | | | At their most picturesque, Butoh dancers hang from high buildings by rope around their ankles, naked and white-washed. |
|
http://www.mndaily.com/daily/gopher-archives/1993/10/28/WVAHKAZ.STO.txt
(210 words)
|
|
| |
| | Isadora Duncan from the CD Rom Shaping San Francisco |
| | Duncan gave expressionist dance words through her books (My Life, The Art of Dance), speeches, and letters to the newspapers: "What I am interested in doing is finding and expressing a new form of life" Duncan declared in The Mentor. | | | Isadora Duncan, born in San Francisco in 1877, was possibly the most influencial advocate of modern dance internationally in the twentieth century. | | | Hardships in Duncan's life inspired her vision, which primarily was a free school for children which she believed would be the lever to move the world: "When I speak of my School, people do not understand that I do not want paying pupils; I do not sell my soul for silver. |
|
http://www.shapingsf.org/ezine/womens/duncan/main.html
(773 words)
|
|
| |
| | Boston.com / A&E / Theater/Arts / dance |
| | Fokine espoused an expressionist style in which dance and mime blended seamlessly and the corps was more than living scenery. | | | Dance, decor, and music were equal partners in this enterprise. | | | All were choreographed by Mikhail Fokine, and all are coming to Boston when the Kirov Ballet and Orchestra appear at the Wang Theatre this fall. |
|
http://www.boston.com/ae/theater_arts/articles/2003/09/14/kirov_to_stage_five_fokine_ballets_in_boston
(773 words)
|
|
| |
| | National Arts Centre - Centre national des Arts |
| | Born in Solingen, Germany in 1940, Pina Bausch began her dance studies at the age of 15 at the Folkwang School in Essen, where she studied with several teachers, including the renowned expressionist choreographer Kurt Jooss. | | | Café Müller /Pina Bausch, 1985 / 48 minutes Mirroring themes of love and separation, grief and despair, Pina Bausch dances one of the four characters; a desolate, solitary figure, she is fabulous, with focus and precision in her heart-breaking, slow movements. | | | Bausch constructs dances by using repetition as ballast for meaning: by repeating a gesture as simple as fiddling with a lock of hair or crossing a leg, the movement becomes a phrase, and then a dance. |
|
http://www.nac-cna.ca/en/dance/pina_bausch.html
(708 words)
|
|
| |
| | Australia Dancing - Woolliams, Anne (1926 - 1999) |
| | Born in Folkestone, Kent, Anne Woolliams took her first dance classes with a teacher who had been a student of the German expressionist dance pioneer Mary Wigman. | | | She went on to study with a range of teachers including Judith Espinosa and Vera Volkova. | | | Her performing career began with the Russian Opera and Ballet Company in London and she subsequently performed with a range of companies as well as in films and musicals. |
|
http://www.australiadancing.org/subjects/73.html
(708 words)
|
|
| |
| | Ambient Music |
| | The complementary forces of impressionist and expressionist artistic styles are an integral part of the modernist and post-modernist palette, and ambient music serves as the impressionist counterpart to the expressionist mainstream of the current musical culture. | | | It's music to dance to, at 30 beats per minute, no doubt, and the cultural resonances of the accomplishment seem to show up in many unexpected areas of pop and electronic music even today. | | | Like most ambient music, there's nothing complex or large about the song, but there's something indescribable that it achieves musically, and is unique to the genre. |
|
http://www.mindflip.com/guide/ambient.html
(1416 words)
|
|
| |
| | Jan Fabre |
| | Jan Fabre, with three small performance pieces entitled the "Trois Solo's", collapses many of the limits between music, dance and the visual image and so situates the viewer in the midst of an assimilation in which Fabre quite transparently mixes European Romantic and Expressionist High-Art tropes in the most flagrant way imaginable. | | | While often caught in the rationale of novelty, Fabre's precious dance images seemed almost self-justifying and immune from the concerns of cultural criticism. | | | However any informed dissatisfaction surrounding his neo-avant-garde performance art, knows that predictable public response ranges from dizzying exaggeration to narrow minded solipsism. |
|
http://old.thing.net/ttreview/aprrev.04.html
(468 words)
|
|
| |
| | Jan Fabre |
| | Jan Fabre, with three small performance pieces entitled the "Trois Solo's", collapses many of the limits between music, dance and the visual image and so situates the viewer in the midst of an assimilation in which Fabre quite transparently mixes European Romantic and Expressionist High-Art tropes in the most flagrant way imaginable. | | | While often caught in the rationale of novelty, Fabre's precious dance images seemed almost self-justifying and immune from the concerns of cultural criticism. | | | Sadly this is the most obvious interpretation in lieu of the work's lack of dramatic action / extreme expression, which has been typical of Fabre and which I detected grievously missing here. |
|
http://old.thing.net/ttreview/aprrev.04.html
(468 words)
|
|
| |
| | Notes: Mary Wigman, 1886-1973: "When the Fire Dances Between Two Poles." (video recording reviews)@ HighBeam Research |
| | In narrating this video herself, Mary Wigman not only retraces the manifold phases of her artistic career, but gives an overview of the world of the modern expressionist dance movement as well. | | | Her individual style of language, combined with striking images of her dancing, create an impressive portrait of this great artist that serves as an excellent introduction to the European modern dance movement for American audiences. | | | Mary Wigman, 1886-1973: "When the Fire Dances Between Two Poles." (video recording reviews) |
|
http://highbeam.com/library/doc0.asp?docid=1G1:16984748&...
(220 words)
|
|
| |
| | Mary Wigman / FemBio: Women of Hanover |
| | She was nearly 33 years old, and in the subsequent years she would establish herself internationally as the creator and agent of an original form of art: expressionist dance. | | | Mary Wigman … was, during the 1920s and '30s, the most highly regarded modern dancer and choreographer in Central Europe and one of the principal reasons for the ascendancy there of MODERN DANCE over classical ballet until the end of World War II. | | | In the fall of 1919, Mary Wigman (whose actual name was Karoline Sofie Marie Wiegmann) was celebrated in Hamburg for the first time by a German audience as a new and truly great dancer. |
|
http://www.fembio.org/women-from/hannover/mary-wigman.shtml
(735 words)
|
|
|
Topic: Expressionist dance