Kate Elswit
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780199844814
- eISBN:
- 9780199376056
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199844814.003.0005
- Subject:
- Music, Dance
This chapter takes up larger questions of retrospective watching through the post-World War Two moment at which understandings of Weimar dance were consolidated. Beginning from the copyright suit ...
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This chapter takes up larger questions of retrospective watching through the post-World War Two moment at which understandings of Weimar dance were consolidated. Beginning from the copyright suit that Kurt Jooss filed against the musical revue film Sensation in San Remo after the return of his 1932 Green Table to West Germany in 1951, the chapter shows how one of the pieces most directly associated in retrospect with connecting inter-war and post-war German dance figured actively in reconstituting a postwar dance community. Returning from 19 years of exile, Jooss’s stylistic fusion was cited as an unfinished form of late Ausdruckstanz and used to bridge interwar and postwar dance, in the process justifying continuities with fascist aesthetics through, rather than despite, the legacy his work carried. This chapter thus historicizes how Weimar-era dance came to be understood in relation to successive generations of German dance, including dance theatre.Less
This chapter takes up larger questions of retrospective watching through the post-World War Two moment at which understandings of Weimar dance were consolidated. Beginning from the copyright suit that Kurt Jooss filed against the musical revue film Sensation in San Remo after the return of his 1932 Green Table to West Germany in 1951, the chapter shows how one of the pieces most directly associated in retrospect with connecting inter-war and post-war German dance figured actively in reconstituting a postwar dance community. Returning from 19 years of exile, Jooss’s stylistic fusion was cited as an unfinished form of late Ausdruckstanz and used to bridge interwar and postwar dance, in the process justifying continuities with fascist aesthetics through, rather than despite, the legacy his work carried. This chapter thus historicizes how Weimar-era dance came to be understood in relation to successive generations of German dance, including dance theatre.
Susan Manning and Lucia Ruprecht
- Published in print:
- 2012
- Published Online:
- April 2017
- ISBN:
- 9780252036767
- eISBN:
- 9780252093869
- Item type:
- chapter
- Publisher:
- University of Illinois Press
- DOI:
- 10.5406/illinois/9780252036767.003.0001
- Subject:
- Music, Dance
This introductory chapter first sets out the book's purpose, which is to offer fresh histories and theoretical inquiries that will resonate not only for scholars working in the field of dance, but ...
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This introductory chapter first sets out the book's purpose, which is to offer fresh histories and theoretical inquiries that will resonate not only for scholars working in the field of dance, but also for scholars working on literature, film, visual culture, theater, and performance. It then sketches the intellectual and artistic trends over the last thirty years that have shaped the scholarship featured in New German Dance Studies. It follows the broadly chronological organization of the volume as a whole: opening essays on theater dance before 1900; then research clusters on Weimar dance, dance in the German Democratic Republic, and conceptual dance; and a closing reflection on the circulation of dance in an era of globalization. Throughout it emphasizes the complex interplay between dance-making and dance writing, as well as interrelations between dance practice and research and artistic and intellectual trends in German culture at large.Less
This introductory chapter first sets out the book's purpose, which is to offer fresh histories and theoretical inquiries that will resonate not only for scholars working in the field of dance, but also for scholars working on literature, film, visual culture, theater, and performance. It then sketches the intellectual and artistic trends over the last thirty years that have shaped the scholarship featured in New German Dance Studies. It follows the broadly chronological organization of the volume as a whole: opening essays on theater dance before 1900; then research clusters on Weimar dance, dance in the German Democratic Republic, and conceptual dance; and a closing reflection on the circulation of dance in an era of globalization. Throughout it emphasizes the complex interplay between dance-making and dance writing, as well as interrelations between dance practice and research and artistic and intellectual trends in German culture at large.
