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It was a revolution. It would be more expressive, and show more spirit and emotion and less virtuosity. The dance would be improvisational, uninhibited and provocative. Future spiritual and bodily reform movements expressed themselves in a new "natural" naked dance. The women took centre stage. A key
417:(1937). These were first performed, as Vier Tanze, at the Manchester Festival of Expressionism in 1992. Sophie Constanti wrote that 'Together all four pieces danced with great sensitivity and aplomb by Aggiss...provided a fascinating insight into the lost Ausdruckstanz of central Europe.'
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Schools for expressionist dance had special philosophies and emphases for dance, such as naturalness, breathing, tension / relaxation etc. It was often associated with floor contact, "weight" of dance movements, and experiments with music. Body and physicality were strongly emphasized.
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protagonist was
Isadora Duncan, who around 1900 had taken from classical dance technique and costume. She had even taken off dancing shoes – "you do not play the piano with gloves on". She wanted to unite the body, mind and spirit in her art, and searched with
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and a general protest against artistic stagnation and the old society. Ballet was perceived to have been superficial entertainment. The new dance would be art, both individual and artistic creation. The dance was described as the art of movement.
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186:, is a form of artistic dance in which the individual and artistic presentation (and sometimes also processing) of feelings is an essential part. It emerged as a counter-movement to
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at the beginning of the 20th century in Europe. Traditional ballet was perceived as austere, mechanical and tightly held in fixed and conventional forms. Other designations are
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The revolutionary movements in
Germany and the USA were most obvious, two countries that had no older rooted ballet tradition. The forerunners in Europe included
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was an important trendsetter as a dancer, choreographer and teacher. In her school in
Dresden (opened in 1920) she taught Europe's premier aspiring dancers
433:
Bergsohn, H. and
Partsch-Bergsohn, I. (2003) The Makers of Modern Dance in Germany: Rudolf Laban, Mary Wigman, Kurt Jooss. Independent Publishers Group.
495:
Die Blauen Bücher. K. R. Langewiesche, Leipzig 1928, 1935; Neudruck der
Erstausgabe nebst Materialien zur Editionsgeschichte. Einführender Essay von
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has been working on choreographic style "Indian expressionism" where the major work is focused on queer rights and other social elements
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372:. Its independent and pioneering dance came to form the backbone of modern dance, whose many branches stretched forth up until today.
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210:. In 2014, modern dance with the stylistic forms and mediation forms of rhythmic and expressive dance movements was included in the
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Sophie
Constanti, 'Dancing Diva: Hilde Holger's choreography reaches the British stage at last and triumphs', Arts Section,
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Vernon-Warren, B. and Warren, C. (Eds) (1999) Gertrud
Bodenwieser and Vienna's Contribution to Ausdruckstanz. Routledge.
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788:"Patruni Chidananda Sastry on expressionist form of dance, and how it can give a voice to communities"
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Tanzen und tanzen und nichts als tanzen. Tänzerinnen der
Moderne von Josephine Baker bis Mary Wigman
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in Ascona, Switzerland, which became a teaching centre for the new dance. Among his students were
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was a theoretical prominent figure who was based on metaphysical ideas and one of the pioneers of
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Tanzfrauen in der
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99:(centre), a pioneer of expressionist dance, with students at her Berlin dance studio, 1959.
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Robinson, J. (1998) Modern Dance in France, 1920-1970: An
Adventure. Routledge.
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745:'List of Works', Aggiss and Cowie (eds) Anarchic Dance, Routledge, 2006, p.177
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in Germany. From 1913-1918, Laban operated a school for art on the colony
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499:. Published by the Albertina Wien. Langewiesche, Königstein i. Ts. 2002.
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684:. Newcastle upon Tyne: Cambridge Scholars Publishing. pp. 26–27.
401:. In 1992, Holger revived four dances for Aggiss from her repertoire:
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for inspiration in ancient Greek and Egyptian art, during the time of
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Performing Femininity: Dance and Literature in German Modernism
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770:"Dance towards positive thoughts: Patruni Chidananda Sastry"
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is inspired by the German expressionist dance of the 1950s.
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as defined by the UNESCO Convention for the Safeguarding of
625:. Amsterdam: Hardwood Aacademic Publishers. p. 18.
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The Pina Bausch Sourcebook: The Making of Tanztheater
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Die Begründung des Ausdruckstanzes durch Mary Wigman.
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345:brought her theories to the United States, while
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27:Form of dance focused on expression of feelings
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381:The British choreographer and live performer
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225:. German Expressionist dance is related to
212:German List of intangible Cultural Heritage
194:and (especially in the historical context)
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731:: CS1 maint: location missing publisher (
349:went her own way with her dance research.
80:Learn how and when to remove this message
681:Tracing the Landscape of Dance in Greece
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163:Emmy Towsey (Taussig) and Evelyn Ippen,
43:This article includes a list of general
807:"Dance can depict just about anything!"
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511:TanzBalance. Ausdruckstanz für Frauen.
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7:
768:Borah, Prabalika M. (Apr 30, 2019).
557:. Leben und Werk der großen Tänzerin
493:Der Künstlerische Tanz unserer Zeit.
356:in the United States was founded by
646:Müller, Hedwig (21 August 2012) .
49:it lacks sufficient corresponding
25:
1217:American Figurative Expressionism
708:Mark Tompkins Sec Song and Dance
619:Preston-Dunlop, Valerie (1995).
34:
805:Das, Tanushree (Jul 10, 2019).
206:, in Anglo-American countries
1:
776:– via www.thehindu.com.
654:. Routledge. pp. 19–30.
650:. In Climenhaga, Royd (ed.).
527:Rosenholz, Kiel/Berlin 1998.
513:Rosenholz, Kiel/Berlin 1999.
121:, the ancient Egyptian, 1910.
491:Hermann und Marianne Aubel:
223:Intangible Cultural Heritage
705:Tompkins Sec, Mark (2016).
407:Le Martyre de San Sebastien
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364:, with such students as
167:in Centennial Park in
1232:Expressionism (theatre)
1189:Expressionist Sculpture
678:Savrami, Katia (2019).
573:Hentrich, Berlin 1992.
403:Die Forelle (The Trout)
64:more precise citations.
903:Yitzhak Frenkel Frenel
481:. Aviva, Berlin 2004.
477:Amelie Soyka (Hrsg.):
467:. Oxford: Peter Lang.
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132:at the sea front 1915.
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1142:Karl Schmidt-Rottluff
1137:Ernst Ludwig Kirchner
1008:German Expressionism
571:Dore Hoyer. Tänzerin.
549:Köln, Phil.Diss. 1986
171:, Australia ca. 1939.
162:
155:’s dance school 1930.
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1222:Boston Expressionism
968:Les Platanes à Céret
861:Early Expressionists
811:www.thehansindia.com
151:Dance students from
1038:Expressionist dance
758:, 9 June 1993, p3-4
411:Mechaniches Ballett
385:, who trained with
200:expressionist dance
1253:20th-century dance
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397:, was inspired by
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691:978-1-5275-4333-1
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519:978-3-931665-01-2
473:978-3-03911-351-4
463:Kolb, A. (2009).
327:Harald Kreutzberg
315:and Mary Wigman.
273:Clotilde von Derp
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1047:Pina Bausch
622:Dance Words
555:Mary Wigman
413:(1926) and
331:Jeanna Falk
319:Mary Wigman
293:Mary Wigman
285:Loie Fuller
266:Orientalism
253:avant-garde
228:Tanztheater
215: [
108:Loie Fuller
97:Mary Wigman
62:introducing
1247:Categories
1210:Influenced
1160:Alban Berg
1120:Die Brücke
1106:Franz Marc
1068:Literature
1017:Fritz Lang
999:Bruno Taut
975:The Scream
585:References
428:Literature
387:Hanya Holm
383:Liz Aggiss
343:Hanya Holm
335:Dore Hoyer
313:Kurt Jooss
196:free dance
45:references
1010:in Cinema
932:Paintings
792:Firstpost
774:The Hindu
727:cite book
362:Ted Shawn
289:Jo Mihaly
241:modernism
18:Tanzkunst
868:El Greco
409:(1923),
405:(1923),
245:vitalism
961:Pierrot
599:"Trove"
235:History
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110:1902.
733:link
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