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Dance & eros
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Gestural Imaginaries
Gestural Imaginaries offers a new interpretation of European modernist dance by addressing it as guiding medium in a vibrant field of gestural culture that ranged across art and philosophy.
Akesson Birgit
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Dore Hoyer, Tänzerin
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New German Dance Studies
Susan Manning is a professor of English, theater, and performance studies at Northwestern University and the author of Ecstasy and the Demon: The Dances of Mary Wigman. Book jacket.
Der Maler Ernst Oppler. Berliner Secession & Russisches Ballett
Ernst Oppler was a renowned Impressionist painter and co-founder of the Berlin Secession. After attending a performance of the Russian Ballet in 1909, he became a fervent chronicler of stage dance. Unlike Edgar Degas, he was not interested in nameless, posing dancers, but rather in movement itself and the stars of the Ballets russes, such as Anna Pavlova and Vaslav Nijinsky. The richly illustrated volume will be published on the occasion of Oppler?s 150th birthday.00Exhibition: Tanzmuseum des Deutschen Tanzarchivs, Cologne, Germany (11.03.2017-28.01.2018).
Performing Femininity
This is the first book to analyse the cultural representations of female identity that were created by the interaction between choreography and literary writing in German modernism. It explores the connections between dance, literature and gender discourses with a focus on a key period of the Austro-German dance scene: the years between 1900 and 1933. Drawing on influential feminist and gender theories, this book evaluates the choreographies of leading artists such as Grete Wiesenthal, Mary Wigman, Valeska Gert, Anita Berber, and the sensational 'dream' dancer Madeleine Guipet. In response to growing criticism of ballet, German modern dance reflected and helped shape a reassessment of images...
Empire of Ecstasy
Empire of Ecstasy offers a novel interpretation of the explosion of German body culture between the two wars—nudism and nude dancing, gymnastics and dance training, dance photography and criticism, and diverse genres of performance from solo dancing to mass movement choirs. Karl Toepfer presents this dynamic subject as a vital and historically unique construction of "modern identity." The modern body, radiating freedom and power, appeared to Weimar artists and intelligentsia to be the source of a transgressive energy, as well as the sign and manifestation of powerful, mysterious "inner" conditions. Toepfer shows how this view of the modern body sought to extend the aesthetic experience bey...
Psychoanalytic Intersections
Psychoanalytic Intersections examines the influence and legacy of the Austen Riggs Center, one of the oldest psychoanalytically oriented psychiatric hospitals in America, and home of the Erikson Institute for Education and Research. Former Erikson scholar Elise Miller brings together the work of a wide range of clinicians and scholars who have participated in the Erikson Institute’s Visiting Scholars Program. Representing a variety of disciplines, departments, and methodologies, the contributors exemplify the cutting edge of interdisciplinary work at the intersections of psychoanalysis and academia, psychiatry, psychology, psychoanalysis, and hospital and private practice settings. For thi...
Modern Dance in Germany and the United States
First Published in 1995. In Modern Dance in Germany and the United States: Crosscurrents and Influences Isa PartschBergsohn discusses the phenomenon of the modem dance movement between 1902 and 1986 in an international context, focussing on its beginnings in Europe and its philosophy as formulated by the pioneers Dalcroze, Laban, Wigman and Jooss. The author traces the effects the Third Reich had on these artists, and shows the influence these key choreographers had on the developing American modem dance movement through the postwar years, concentrating in particular on Kurt Jooss and his Tanztheater. When America took the lead in modem dance innovation during the sixties, artists such as Martha Graham, Jose Limon, Paul Taylor, Alvin Ailey and Alwin Nikolais overwhelmed European audiences. Subsequently, the artists of the New German Tanztheater revitalized German theatre traditions by blending new content with some of the American contemporary dance techniques. Although the history of modem dance in these two countries is closely linked, the author describes how each country has kept its own unique and distinctive style.
