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The revolution in theatrical dance that began around the turn of the 20th century in Europe was about more than breaking with the traditions of ballet and developing a new genre—it was about fashioning a new way of life with a vision for the future. The utopian spirit of this wave of change was shared by a collection of social movements at that time, which came to be referred to as the Lebensreformbewegung (Life-reform movement). The narratives of both the revolution in dance and these reform movements intersected not only temporarily and ideologically, but also geographically and genealogically with the meeting of Rudolf von Laban and Mary Wigman, the most prominent figures of German modern dance or Ausdruckstanz, at the Lebensreform community at Monte Verità and the opening of Laban’s summer school there in 1913. Although this is the most explicit example of the movements blending together, numerous writings and publications emerging from both movements document how both philosophies—specifically the goal of living a healthier life; integrating the body, mind, and spirit; living closer to nature; connecting to a higher metaphysical realm; blending art with everyday life, and cultivating a higher culture for society—constituted a model for how to live a better more fulfilled life. This dissertation explores the co-development of these two movements; in particular, how this new conception of dance came to function as a metaphor for a new way of life that presented a different path society could take—an alternative modernity. Laban and Wigman’s successes in the dance world eventually eclipsed the efforts and achievements of the reform movements in popularity, which led to the creation of the aestheticized life-praxis and, to an extent, popularized many of the reforms, for which the other reform movements were fighting. In chapter one, the correlation between Ausdruckstanz and the Lebensreform movement begins with Nietzsche and his theorization of dance and the Dionysian spirit in art. This chapter also examines Nietzsche’s theory of the metaphor and how dance came to function as both a practice and metaphor for not only life but also aspiring to and achieving the status of Übermensch. Chapter two continues the discussion of the metaphoricity of dance and language through Hugo von Hofmannsthal and his relationship with Grete Wiesenthal, a Viennese dancer experimenting with movement and music in a comparable way to Laban and Wigman. Wiesenthal and Hofmannsthal are early examples of the spirit of dance in the broader societal context, and Hofmannsthal’s subsequent work, inspired by this relationship, theorizes a new vital language that strives for a more immediate and visceral mode of communication. The practice of dance at Monte Verità comprises chapter 3. Central to this practice is Laban’s theory of the tänzerischer Sinn (dancing sense), which includes a belief that dance has the power not only to train the dancer but also the audience. In this way, dance was able to spread and share its message beyond the boundaries of the small community in Switzerland. Chapter 4 addresses the evolution of dance during the First World War and how it developed into a dance of death. The First World War also signaled the end of the community at Monte Verità and the shift in focus toward more politically engaged artistic movements, as was the case with Dada. The fifth chapter analyzes the transposition of dance onto the medium of film in the 1920s. At this moment in time dance and the fitness movement have gained more recognition in society and become the subject of a full-length documentary film, Ways to Strength and Beauty. During this time a certain style of beauty is codified, popularized, and eventually appropriated and used as nationalist propaganda, which feeds into the propaganda of the Third Reich. Dancer and filmmaker, Leni Riefenstahl, constitutes one concrete bridge between these two worlds. The epilogue concludes the discussion of the transformation and appropriation of both dance and the elements of the various reform movements during the Third Reich and draws an arch through the 1960s and 70s to the present, highlighting the legacy of these movements.More broadly, this dissertation contributes to a deeper understanding of counter-culture movements and their life spans, arguing that most succumb to the capitalist system and market place instead of achieving their desired effect on society. It provides insight into a range of practices and ways of life today that reflect the same values and aspirations that the protagonists of these movements were advocating for over one hundred years ago—a thriving fitness culture, appreciation and respect for nature, rejection of materialism and consumerism, and the popularization of dance.

The purpose of the article is to characterise the dance and pedagogical activities of G. Bodenwieser and to identify the features of the development of expressive dance of the first half of the twentieth century. Methods. The biographical method is applied to study the "history" of the formation of the personality of G. Bodenwieser, the phenomenon of expressive dance is studied by the method of system analysis; the typological method helped to identify the attributive characteristics of the Viennese school of Ausdruckstanz; the analytical method, the method of logical and theoretical analysis are used for the study of scientific literature, etc. Results. G. Bodenwieser was a part of European modernist movements and belonged to the first generation of expressive dancers in Vienna. Modernist dance sought to explore social, emotional, and political issues by focusing on body movements rather than elaborate props or costumes. The features of G. Bodenwieser’s ideas and philosophy of the dance movements are introduced into the domestic scientific circulation, little-known and unknown materials on the history of Austrian free dance are described, as well as new historiographic sources. The principles of improvisation of an outstanding dancer are considered, in particular the approach to the speed and dynamics of the dance movement "game in the game. The article outlines the prospects for applying G. Bodenwieser’s philosophy of movement in the context of the evolution of modern dance at the beginning of the third decade of the 21st century. It is found that in the philosophical vision of Bodenwieser, the movement of dance should be full of smoothness and rhythmic subtlety, showing a perfect sense of music and the body's delicate reaction to it — the movement is strong in pulse, subtle in rhythm and full in its connection with the dance text. The principles of improvisation, set out by Gertrud Bodenwieser and her followers, are relevant to modern choreographic theories and practices. Scientific novelty. The article examines the dance and pedagogical activities of G. Bodenwieser, one of the leading representatives of the Austrian dance Ausdruckstanz.

This essay aims to retrace the history of Tanztheater, starting from the early 20th century, with the birth of free dance by the Hungarian master Rudolf Laban, to the contemporary Tanztheater later developed by the German dancer and choreographer Pina Bausch. The first step of the analysis consists in identifying the common points on a technical and compositional level. Then, we examine the innovations, mainly methodological, brought and systematically adopted by Pina Bausch since 1977, with the choreographic composition of the pie��ce ���Blaubart���. In conclusion, the essay proposes a reflection about the symbolic dimension of movement and dance, which can be considered the main element in establishing continuity between the free dance of Rudolf Laban and the Tanztheater of Pina Bausch., CoSMo | Comparative Studies in Modernism, N. 19 (2021): Andr�� Salmon ��crivain : La modernit�� polyphonique

Der Text entstand als Weihnachtsgruß für die Mitglieder desVereins für Stadtgeschichte Halle (Saale) und reflektiert Ereignisse der Weihnachtszeit im Dezember 1920 in einem sehr breiten, dezidiert kulturwissenschaftlichen Panorama. Betrachtet wird die Entwicklung der Einkaufskultur und die Ausgestaltung von weihnachtlichen Traditionen in Zeiten des Mangels und der politischen Auseinandersetzung. Skizziert werden die im Dezember im Stadtrat verhandelten Diskussionen, die sich etwa um die Unterstützung der Kriegsverwundeten, die Schaffung von Gemeinschaftsschulen oder Spendenaktionen für ganz verschiedene politische Ambitionen und soziale Projekte. ). Zudem kam es durch die Verhaftung des Redakteurs Viktor Stern (1885-1958) selbst in der Vorweihnachtszeit zu neuen Massenkundgebungen und Streiks in der Stadt. Ein Blick auf kulturelle Veranstaltungen und die Folgen der Spanischen Grippe runden den Blick auf die gesamte städtische Gesellschaft ab. The text was written as a Christmas greeting for the members of the Verein für Stadtgeschichte Halle (Saale) and reflects events of the Christmas season in December 1920 in a very broad, decidedly cultural-scientific panorama. It looks at the development of shopping culture and the shaping of Christmas traditions in times of scarcity and political conflict. The discussions that took place in the city council in December are sketched out, which, for example, dealt with the support of the war-wounded, the creation of community schools or fundraising campaigns for very different political ambitions and social projects. ). In addition, the arrest of the editor Viktor Stern (1885-1958) led to new mass rallies and strikes in the city even in the pre-Christmas period. A look at cultural events and the consequences of the Spanish flu round off the view of urban society as a whole.

Aus Anlass des 50. Jubiläums der internationalen Protestbewegung von 1968 nehmen die Beiträge des Jahrbuchs Generationen- und Geschlechterverhältnisse im Kontext von 1968 in den Blick. Mit der Frage nach den Generationenverhältnissen und ihrem Bezug zu Geschlechterverhältnissen liegt der Fokus des Bandes auf einer erziehungs- und bildungsgeschichtlichen Dimension, die in der 68er Forschung lange unterbelichtet war. [...] In der Komposition des Bandes haben sich neben Generation und Geschlecht zwei Schwerpunkte herauskristallisiert, die die Erforschung von 68 in deutschsprachigen Raum bereichern: Kunst und Italien. Kunst wird zum Gegenstand der Analyse hinsichtlich der Verbreitung von alternativen Praktiken und Formen, des Geschlechterverhältnisses, der Figur des Künstlers als Hippie und des „Todes“ des männlichen Genies als Autor. Italien taucht in den Beiträgen im Kontext einer Übersetzungsgeschichte auf, die sich zugleich als eine generationale Geschlechter- und Verlagsgeschichte zeigt, im Zusammenhang eines Ortes, der katholischen Università del Sacro Cuore in Mailand, die selten mit der Wiege des italienischen 68 assoziiert wird, in Verbindung mit der Verstrickung von Kunst, Differenzfeminismus und Hippiekultur. (DIPF/Orig.)

Aus Anlass des 50. Jubiläums der internationalen Protestbewegung von 1968 nehmen die Beiträge des Jahrbuchs Generationen- und Geschlechterverhältnisse im Kontext von 1968 in den Blick. Mit der Frage nach den Generationenverhältnissen und ihrem Bezug zu Geschlechterverhältnissen liegt der Fokus des Bandes auf einer erziehungs- und bildungsgeschichtlichen Dimension, die in der 68er Forschung lange unterbelichtet war. [...] In der Komposition des Bandes haben sich neben Generation und Geschlecht zwei Schwerpunkte herauskristallisiert, die die Erforschung von 68 in deutschsprachigen Raum bereichern: Kunst und Italien. Kunst wird zum Gegenstand der Analyse hinsichtlich der Verbreitung von alternativen Praktiken und Formen, des Geschlechterverhältnisses, der Figur des Künstlers als Hippie und des „Todes“ des männlichen Genies als Autor. Italien taucht in den Beiträgen im Kontext einer Übersetzungsgeschichte auf, die sich zugleich als eine generationale Geschlechter- und Verlagsgeschichte zeigt, im Zusammenhang eines Ortes, der katholischen Università del Sacro Cuore in Mailand, die selten mit der Wiege des italienischen 68 assoziiert wird, in Verbindung mit der Verstrickung von Kunst, Differenzfeminismus und Hippiekultur. (DIPF/Orig.)

Submitted by Diana Alves (ppgdancaufba.adm@gmail.com) on 2013-01-25T12:57:03Z No. of bitstreams: 2 Dissertação Corrigida.pdf: 14184767 bytes, checksum: 2cc40030e7b591d6053bf9b3235f9fe4 (MD5) Carmen Pré-textuais novas.pdf: 36205 bytes, checksum: 8545b3edbfca63586926ec744fea8aca (MD5) Made available in DSpace on 2013-01-25T12:57:03Z (GMT). No. of bitstreams: 2 Dissertação Corrigida.pdf: 14184767 bytes, checksum: 2cc40030e7b591d6053bf9b3235f9fe4 (MD5) Carmen Pré-textuais novas.pdf: 36205 bytes, checksum: 8545b3edbfca63586926ec744fea8aca (MD5) FAPESB Trata essa dissertação de desenvolver estudos e pesquisas sobre A Dança Expressionista Alemã: Contribuições e Incentivos para a Dança na Bahia, que poderão trazer novos entendimentos da dança contemporânea, assim como agregar informações e análises acadêmicas com relação à importância da criação da Escola de Dança da UFBA e sua permanência como centro de excelência nesta arte. Apoiada em conhecimentos extraídos de publicações teóricas e históricas, aprendizagens adquiridas, processos de experimentação, encenações chaves, coreografias marcantes, percursos artísticos representativos e materiais documentais, a pesquisa abrange outras áreas como estética, filosofia e história para discutir dança em sua especificidade. Serão avaliados os conceitos do movimento expressionista alemão e sua influência sobre a Ausdruckstanz (dançaexpressão), sua estrutura e alicerces teóricos influenciados por métodos pioneiros, desenvolvidos principalmente por François Delsart, Rudolf Laban e Oskar Schlemmer da Bauhaus. Programa de Pós Graduação em Dança- Escola de Dança

Im Kontext der Postmodernen Tanzform „Kontakt-Improvisation“ werden die Effekte von Flow-Erleben und Achtsamkeit auf die subjektive Lebensqualität untersucht. Nach einer ausführlichen Darstellung der Konzepte Lebensqualität, Flow-Erleben und Achtsamkeit folgt eine tanzhistorische sowie auch phänomenologische Beschreibung der Kontakt-Improvisation (Contact). Anschließend werden durch quantitative Untersuchungsmethoden die Wirkungszusammenhänge dieser Konzepte analysiert. Die so gewonnenen Ergebnisse werden anschließend in einer hermeneutischen Analyse der Contact-Szene und ihrer impliziten therapeutischen Wirkfaktoren als Diskussionsgrundlage eingebunden. Besondere Erkenntnisgewinne der Arbeit liegen in der Entwicklung des sogenannten Onenessmodells. Hierbei wird der Bewusstseinszustand einer Einheitserfahrung (Oneness) als eine Gemeinsamkeit von Flow-Erlebnissen und Achtsamkeit beschrieben. Weitere innovative Kerne der Arbeit sind eine neu formulierte Definition des Flow-Erlebnisses sowie die Beschreibung impliziter Normen und Werte der Contact-Szene., In the context of postmodern dance form "contactimprovisation" the effects of flow experience and mindfulness to the quality of life are examined. The presentation of the concepts of quality of life, flow experience and mindfulness is followed by a historical phenomenological description of contact-improvisation (Contact). Through quantitative research methods, the interrelationships of these concepts are analyzed. The obtained results are then integrated into a hermeneutic analysis of the Contact scene and its implicit therapeutic effects. The innovative value of the work lies in the development of the so called “Onenessmodell”. The no-mind state, a consciousness of a total unity (Oneness) is explained as a common feature of flow experiences and mindfulness. Other innovative cores of the work are a new definition of the flow experience and the description of implicit norms and values of the Contact scene.

Ausdruckstanz and the theme of athleticism is seen and symbolically placed in Leni Riefenstahl’s Olympia. Both are fundamental representations of bodies within the film that house a fascist aesthetic. Fascist aesthetic is the essence of art, propaganda or design that perpetuates the goal of an authoritarian regime. Fascist aesthetics were alive and well in Italy, fascism’s birthplace, and newly spread to Germany during the 1930’s, due to the effects of the Great Depression. It is important to establish that the fundamental principles of fascism include nationalism—an extreme form of patriotic efforts, imperialism—unequal distribution of wealth, property and socio-cultural governance, totalitarianism—where nearly every part of the government is completely under control by one source—and total social control.

eingereicht von Roland Geisberger Salzburg, Univ., Dipl.-Arb., 2012

457f. Submitted by Suelen Reis (suziy.ellen@gmail.com) on 2013-03-21T10:44:46Z No. of bitstreams: 1 Tese%20Carmen%20Schaffner.pdf: 3332224 bytes, checksum: 348577fb11b5c4aa51cfa8ce880b76e0 (MD5) Approved for entry into archive by Ednaide Gondim Magalhães(ednaide@ufba.br) on 2013-04-05T14:43:13Z (GMT) No. of bitstreams: 1 Tese%20Carmen%20Schaffner.pdf: 3332224 bytes, checksum: 348577fb11b5c4aa51cfa8ce880b76e0 (MD5) Made available in DSpace on 2013-04-05T14:43:13Z (GMT). No. of bitstreams: 1 Tese%20Carmen%20Schaffner.pdf: 3332224 bytes, checksum: 348577fb11b5c4aa51cfa8ce880b76e0 (MD5) Previous issue date: 2011 Esta tese trata do processo de modernização da criação artística iniciado em torno de 1900 na Alemanha, quando ocorreu uma ruptura no modo de pensar e de viver até então vigente, gerando movimentos como ―A Reforma de Vida‖, que revolucionaram a expressão corporal e a gestualidade, e elevaram a Ausdruckstanz (dança-expressão ou dança expressionista) a uma forma de conhecimento. O estudo analisa as conquistas da dança expressionista em 1914, no Monte Veritá, com o encontro de Rudolf Von Laban e Mary Wigman, reexamina o envolvimento deles com o nazismo, saindo em defesa de ambos em apreciação sob uma perspectiva histórica. Em seguida, aborda o desenvolvimento da dança do pós-guerra e as influências culturais dos países de ocupação, passando para o surgimento da geração de exalunos de Mary Wigman e Kurt Jooss, que, a partir de 1973, iniciam nova fase histórica da dança na Alemanha em Essen no âmbito da Escola Folkwang, em Wuppertal, com o desenvolvimento da dança-teatro da Pina Bausch; e em outros centros com o crescimento do teatro coreográfico de Johann Kresnik, inclusive suas experiências internacionais. Ambas essas tendências influenciaram meus trabalhos artísticos, especificamente, em aspectos interculturais e pós-dramáticos. Identificando as respectivas influências sobre a dança e o teatro coreografado no Brasil/Bahia, são analisadas duas montagens teatrais próprias, Dendê e Dengo (1990) e Merlin ou A Terra Deserta (1993). Esses trabalhos representam tanto uma síntese quanto uma recriação própria das experiências e conceitos culturais entrecruzados tratados ao longo da tese, enriquecidos pelas considerações da etnocenologia como chave complementar dessas produções baianas. Salvador

0\. Inhaltsverzeichnis 1\. Einleitung 2\. Der moderne Tanz in Deutschland in den 1920er Jahren 3\. Der Losbruch: Dore Hoyers Solotänze von 1932 bis 1935 4\. Die ganze Herrlichkeit dieser Pose \- Attitüden des modernen Tanzes 5\. Intermezzo: Das trostlos offene Tor. Die versuchte Eingliederung in Mary Wigmans Tanzgruppe 6\. Weiterhin: Auf dem Wege in tänzerisches Neuland. Dore Hoyers Solotänze von 1936 bis 1939 7\. Zwischen Gestern und Morgen. Zusammenfassung und Ausblick 8\. Literaturverzeichnis 9\. Danksagung 10\. Bildnachweise 11\. Anhang, Dore Hoyer gilt in den 1950er und 1960er Jahren als die wichtigste deutsche Protagonistin des freien / modernen Tanzes. Vielfach wird sie als "die letzte große Vertreterin des Ausdruckstanzes" gesehen, als Meisterschülerin Mary Wigmans bezeichnet. Ihre Art zu tanzen wird von Zeitgenossen dieser Jahre jedoch häufig - trotz großer Anerkennung ihrer tanztechnischen Leistungen - dem Ausdruckstanz als einer vergangenen, veralteten Epoche der Tanzkunst zugerechnet. Erst in den letzten Jahren haben Untersuchungen an verschiedenen Beispielen ergeben, daß Dore Hoyers Tanzstil dieser Zeit keineswegs veraltet, sondern überaus modern war. Die vorliegende Untersuchung hat sich zum Ziel gesetzt, am Beispiel des bisher nahezu unbekannten Frühwerks von Dore Hoyer nachzuweisen, daß sie aus heutiger Sicht bereits in den 1930er Jahren die innovativste und modernste deutsche Tänzerin ihrer Zeit gewesen ist und den modernen Tanz wesentlich bereichert und weiterentwickelt hat. Auch wurde Dore Hoyer wesentlich weniger durch die namhaften Vertreterinnen des Ausdruckstanzes - Mary Wigman und Gret Palucca - beeinflußt, als bisher oft irrig angenommen. Stattdessen läßt sich eine stilistische Nähe zu besonders eigenwilligen und modernen, auch zeit- oder sozialkritischen Exponenten der deutschen Tanzkultur der 1920er und beginnenden 1930er Jahre aufzeigen, nämlich zu Vera Skoronel, Valeska Gert und Jo Mihaly. Die Entfaltungsmöglichkeiten von Avantgarde wurden aufgrund der sich auch kulturpolitisch immer stärker etablierenden NS-Diktatur in den 1930er Jahren ständig geringer, und nach allgemeiner Forschungsauffassung stagnierte die Entwicklung des modernen Tanzes in Deutschland oder war sogar rückläufig. Daher kommt Dore Hoyers Neuerungen dieser Zeit eine besondere Bedeutung zu; gleichzeitig bietet sich ein Vergleich mit den amerikanischen Entwicklungen des modern und postmodern dance an, die nicht solcher staatlichen Einflußnahme ausgesetzt waren., During the 1950s and 1960s, Dore Hoyer was seen as one of the most important German protagonists of free / modern dance. She was often called "the last great representative of Ausdruckstanz" or Mary Wigman's "master student" (although she never actually was her student). Contemporaries recognized her highly accomplished technique, yet were nevertheless inclined to view her style of dancing as Ausdruckstanz, which belonged to a by-gone age. In recent years, case studies have shown that Dore Hoyer's dancing style at that time was by no means anachronistic, but rather thoroughly modern. This study examines Dore Hoyer's nearly unknown early work in order to demonstrate that in the 1930s - when viewed from a present day perspective - she was already the most innovative and modern German dancer of her age, and that she made a valuable contribution to the development of modern dance on the whole. The influence that the more prominent representatives of Ausdruckstanz - Mary Wigman and Gret Palucca - had on Dore Hoyer was by no means as strong as has been previously assumed. Moreover, stylistic parallels can be drawn between her work and that of highly individual, modern dancers in Germany in the 1920s and early 1930s, such as Vera Skoronel, or Valeska Gert and Jo Mihaly, who also engaged in social criticism. The possibilities of avant-garde self- expression became more and more limited as the National Socialist dictatorship succeeded in establishing its cultural policies more firmly, introducing a period in which researchers believe that modern dance in Germany stagnated or even regressed. Consequently, the innovations introduced by Dore Hoyer at this time are all the more significant; they also provide an opportunity to compare her innovations with developments in modern and postmodern dance in America, where state influence did not have such a direct impact.

Der Sprung bezeichnet einen herausgehobenen Moment im Verlauf einer Bewegung - einen gleichsam emphatischen Augenblick der Still-Stellung. Was aber macht den Sprung zum Sprung? Die Plötzlichkeit seines Auftretens? Die Dynamik der Zustandsänderung eines Körpers, ja der gewaltsame Bruch in einer Bewegungsrichtung? Oder der Effekt seiner Wirkung, der Sprung auch in der Wahrnehmung des unvermuteten Ereignisses: als Überraschung, Staunen, Schock?

The significance of Germany's contribution One might imagine that a nation's lack of a strong tradition in the performing arts would inhibit its ability to develop exciting and internationally acclaimed achievements in theatre and dance in the modern period. However, in the case of Germany, it may be argued that it was precisely because of this lack of tradition that the conditions were created for innovation and experiment, so that over the last hundred years the German-speaking nations have excelled in theatre, dance, opera and dramatic literature, in both theory and practice, in ways that have been both adventurous and influential. The story of modern theatre could not be told without reference to Brecht, nor that of dance without mention of Laban, and these are merely the best-known names of the many practitioners who worked in German-speaking nations to transform the performing arts of this century. Eighteenth-century Germany had no golden age of theatre to look back on, no Shakespeare, no Racine, no Calderon. The reasons for this were several: for centuries Germany had served as the battleground of Europe; the German language itself was held in low esteem; and, most importantly, Germany did not exist as a nation, comprising in fact several hundred kingdoms, dukedoms, bishoprics, etc., with no major cultural centre like London or Paris.