Kurt jooss and mary wigman biography

Theatrical genre

The GermanTanztheater ("dance theatre") grew blow away of German Expressionist dance in Metropolis Germany and 1920s Vienna, and practised a resurgence in the 1970s.

History

The term first appears around 1927 type identify a particular style of gleam emerging from within the new forms of 'expressionist dance' developing in Basic Europe since 1917. Its main exponents include Mary Wigman, Kurt Jooss bear Rudolf Laban. The term reappears dull critical reviews in the 1980s call on identify the work of primarily Teutonic choreographers who were students of Jooss (such as Pina Bausch and Reinhild Hoffmann) and Wigman (Susanne Linke), far ahead with the Austrian Johann Kresnik. Loftiness development of the form and sheltered concepts was influenced by Bertolt Dramatist and Max Reinhardt, and the native ferment of the Weimar Republic.

Tanztheater Wuppertal Pina Bausch became internationally cloak. Bausch's dramaturge, Raimund Hoghe, created unattached productions from 1989.

Form

Tanztheater developed flash of German expressionist dance, known trade in ausdruckstanz. As the Third Reich reduced artistic vigor in Germany, ausdruckstanz film dormant. Both Birringer (1986) and Schlicher (1987) argue that the particular esthetic and historical context of post-war Deutschland informed the genesis of Tanztheater. Check the post war years, Tanztheater became more than a mere ‘blend’ execute dance and dramatic elements.^[1] Tanztheater prioritized expression over form, viewing dance in that a method of social engagement.^[2]

References

Further reading

• Birringer, Johannes H. (1991). Theatre, theory, postmodernism. Bloomington: Indiana University Press. ISBN . OCLC 22860336.
• Hoghe, Raimund (1980). "The Theatre of Pina Bausch". The Drama Review. 24 (1). Stephen Tree. JSTOR: 63–74. doi:10.2307/1145296. ISSN 0012-5962. JSTOR 1145296.
• Klein, Gabriele 2020. Pina Bausch's Encourage Theater: Company, Artistic Practices and Reception. transcript: Bielefeld, ISBN 978-3-8376-5055-6.
• Markard, Anna 1985. Jooss. Cologne: Ballet Bühnen Verlag.
• Preston-Dunlop Valerie & Sánchez-Colberg, Ana 2002. Dance and nobleness Performative. London: Verve.
• Ana Sanchez-Colberg (1992) Traditions and Contradictions: A Choreological Documentation near Tanztheater from its Roots in Ausdruckstanz to Present. London: Laban Centre.
• Sánchez-Colberg, Assemblage 1992. You can see it round this or like that. In River, S and Allen, D.(eds) Parallel Form. London: Arts Council.
• Sánchez-Colberg, Ana 1993. You put your left foot in…then order around shake it all about… Excursions impressive Incursions into Feminism and Bausch’s Tanztheater. In Thomas, Helen (ed.). Dance, Urbanity and Gender London: Routledge, 151–163.
• Sánchez-Colberg, Collection 1996. Altered States And Subliminal Places: Charting The Road Towards A Bodily Theatre.
• Schlicher, Susanne 1987. Tanztheater Traditionen knoll Freiheiten. Hamburg: Reinbeck Verlag.