By Vera Maletic
Publication by means of Maletic, Vera
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Additional info for Body, Space, Expression: The Development of Rudolf Laban's Movement and Dance Concepts
He bequeathed to generations of dancers — to artists such as Kurt Jooss, Dussia Bereska, Gertrud Loeser, Jens Keith, Käthe Wulff, Edgar Frank, and Julian Algo — an entirely new way of perceiving dance. Kurt Jooss, for example, considered Laban's work during this period to have broken the old, narrow forms, a revolutionary phenomenon which he compared to the creation of the "new tonality," or atonality, and the twelve-tone musical system of the twenties. 1 ° 1 Dance writer Fritz Böhme saw Laban in a similar light, describing him as a moment in the historical development of European dance in which dance as an art form became conscious of its material, dance as a cultural factor became more aware of its social connections, and dance as a product of historical movement became more informed about its actual past.
1 37 32 Intents - Actions - Reverberations In a 1935 article surveying the state of the art in German dance culture, Fritz Braur states that a new dance style was in the making and that its forerunners were the Laban-Wigman dance. A more conscious tightening of the link between the exemplary style of classical ballet with an equally valid style of the new dance is proposed. It appears that in this context, Laban was seen as a critical contributor to the making of the new German dance. 138 The evaluation, interpretation, and criticism of Laban's ideas and creations illustrate that while there are differing appraisals of his performing and choreographing activities, the conclusions in regard to his theoretical framework were unanimously laudatory and support the opinion that he significantly changed the face of dance as we know it.
6 l However, he emphasized that besides the shared experience of the joyful movement, the crucial task of the movement choirs was to maintain a sense of humanity in a 1920-1937 The German Period of Gestation 15 dignified form. "63 Laban's first choir-work composition was Lichtwende (Dawning Light) performed in Hamburg in 1923 by eighty lay-dancers who also played percussion instruments. 6 6 The Titan was intended to show the power of community which Laban saw dormant in humanity. "6 7 The culmination of Laban's activities with festival productions was his Festzug des Handwerkes und der Gewerbe (Pageant for the Crafts and Trades) for Vienna created in June 1929.
Body, Space, Expression: The Development of Rudolf Laban's Movement and Dance Concepts by Vera Maletic