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Topic: Ausdruckstanz

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	100 Years of Modern Dance in Vienna - George Jackson (Site not responding. Last check: 2007-10-08)
		She and a portion of the company left Austria when it was annexed by Nazi Germany in 1938 and, via Colombia and New Zealand, settled in Australia, where she is considered the mother of modern dance.
		A third Viennese star of Ausdruckstanz was Rosalia Chladek, born 1905 in Brno, when it was part of the Austrian Hungarian Empire.
		Others who have been activists in keeping the Ausdruckstanz from totally disappearing from public view are Gerhard Brunner (a former director of the Vienna State Opera Ballet), Jarmila Weissenbock (dance curator of the Austrian Theater Museum) and the historians Alfred and Gunhild Oberzaucher.
	www.danceviewtimes.com /2004/autumn/02/austrianmoderndance.htm (2629 words)

	Dance Advance \| Dance Advance Archives: Documents
		In the brief history of modern dance, Bodenwieser acquired a reputation as the source of a particular lineage of dance, the Viennese school of Ausdruckstanz.
		Emerging in the period between the two world wars in Central Europe as a radically modern and innovative genre, Ausdruckstanz is generally regarded as a drive towards a more personal form of expression in dance, literally dance of expression.
		Bodenwieser in Vienna was regarded as a key personality in this field but, being an Austrian Jew, she was largely erased from the official canon of Central European Dance, which emphasizes the triumvirate of Mary Wigman, Rudolf von Laban, and Kurt Jooss.
	www.danceadvance.org /03archives/bodenwieser/page3.html (500 words)

	[No title] (Site not responding. Last check: 2007-10-08)
		I knew that as a scholar, I was seeking a bodily experience of the spaces in which Ausdruckstanz and Tanztheater came to be, as well as an understanding of the link between this cultural-historical space and the fantastical space of the dance works which resulted from those movements.
		The foundational principles of Ausdruckstanz, as it came into being during the 1920’s, were defined by the choreographer and dancer, Mary Wigman, as space, time, and strength.
		Wigman defined space not only as the space in which the dance is created or performed such as the studio or stage, but also as the space which the dancer creates: “It is not the tangible and limiting space of concrete reality, but the imaginary, irrational space of the danced dimension...
	www.avh.de /de/programme/stip_aus/doc/buka/Berichte_99/Mozingo.doc (3320 words)

	Frank-Manuel Peter, PhDThesis, FU Berlin
		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.
		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.
	www.diss.fu-berlin.de /2004/245/indexe.html (360 words)

	Berlin: Temporal Topographies
		This pathway introduces you to the city of Berlin during the early decades of the twentieth century by guiding you through the culture of modern dance (Ausdruckstanz) in Germany.
		As part of the larger intellectual movements of the time, such as Dadaists, Expressionists and Bauhaus artists in search for alternate forms of expression, it was born out of a revolution against the codified movement and narrative structure of ballet.
		And it was Berlin, the newly growing metropolis with its endless movements of people and traffic, fluctuations of masses and perceptions, shocks and spectacles, that captured most intensely the unique experience of modernity that "Ausdruckstanz", the German modern dance, represented through the immediacy of bodily movement without extravagant costumes or musical accompaniment.
	www.stanford.edu /group/berlin/data2/CLEAN/pathways/modern_dance (323 words)

	Ausdruckstanz/Tide (Site not responding. Last check: 2007-10-08)
		Ausdruckstanz Dance Theater/Tide Dancers and Musicians' show this past weekend was equal parts celebration and homage.
		The celebration came by way of the fact that the concert marked the 30th year Brigitta Herrmann, the company artistic/executive director, has lived in the United States.
		Homage was paid in Golden Bird, created in honor of Herrmann's mother, who passed away at age 90 last May. The entire program was a tribute to Mary Wigman, a pioneer of German expressionist dance and the inspiration behind Ausdruckstanz.
	www.citypaper.net /articles/051498/crtms.reviews5.shtml (443 words)

	Ausdruckstanz
		When Brigitta Herrmann took a hiatus from the directorship of Ausdruckstanz Dance Theater to head off to Colorado, she left it to company members to maintain the ensemble in her absence.
		Hence the upcoming Ausdruckstanz show reflects the artistic visions of several dancers: Brenda Kunda, Rebecca Sloan, Amy Benenate and Hubler.
		Each differs in their approach to dance: Benenate duets with a tapper, Sloan is working with harnesses, Kunda is going for flowy gestural movement while Kunda's piece combines dance with video.
	www.citypaper.net /articles/050699/ae.six.pick3.shtml (164 words)

	Artworks Fall 2002
		Bodenwieser was a renowned dancer, choreographer and educator who developed her own style of Ausdruckstanz, “expressive dance,” the central European break with classical ballet.
		It is therefore to be understood that every epoch has its own form of artistic expression, showing so the inner feeling of the soul of the people of that age.” Her form was the dance drama.
		She used a style that Charles Warren, in Gertrude Bodenwieser and Vienna’s Contribution to Ausdruckstanz, described as, “…decorative, fluid, effortless, lyrical and dynamic….
	www.wvculture.org /arts/Artworks/Fall02/kramer.html (1505 words)

	ICKL Conference - LABAN
		She became the first female professor of choreography at the Vienna State Academy, before emigrating to Australia just before the 1938 German annexation of Austria.
		Her work was rooted in a combination of Ausdruckstanz, ballet, and theater, emphasizing curvelinear movements, deep torso arches, ecstatic turns and leaps.
		Choreographed in 1923, between the wars and before Bodenwieser’s emigration, The Demon Machine explored the "frightening aspects of mechanization, with the dangerous effects it could have on humanity" (*2) and won first prize at the Florence International Concours in 1931.
	www.ickl.org /conf05_london/sessions/sessions02.html (433 words)

	History and Basics (Site not responding. Last check: 2007-10-08)
		His main focus was on finding the bodies’ natural rhythms, and expressing mental and emotional states through dance.
		Although most well-known for his notation system, Laban was actually a pioneer in modern dance, and his type of dance is now termed German Expressionist Dance or Ausdruckstanz, which flourished in the 1920’s and 1930’s(Society of Archivists 1).
		Laban originally started his notation for personal use, but his versatile, economical, concise, and accurate method seemed to crack the code as far as finally satisfying the requirements for a lasting system.
	www.acsu.buffalo.edu /~avankirk/English/page2.htm (610 words)

	Group Motion Dance Company: Company Members (Site not responding. Last check: 2007-10-08)
		A 1992 graduate of Interlochen Arts Academy in Michigan and a 1996 graduate of the University of the Arts in Philadelphia, she has worked with many area companies and choreographers including SCRAP Performance Group, Ausdruckstanz Dance Theater, Moxie, and the Bald Mermaids.
		She has also danced professionally in Philadelphia with SCRAP Performance Group, Ausdruckstanz Dance Theater, MOXIE, and The Bald Mermaids.
		Emily has performed in Europe and Asia and has shown her work at the Philadelphia Museum of Art, The Painted Bride Art Center, and Kumquat Theater.
	www.groupmotion.org /company/companyMembers.asp (1233 words)

	Diplomatic Traffic
		The Roots, the Stars, and the Legacy of ‘Ausdruckstanz’
		Revolutionary, provocative, admired: in early 20th Century Vienna, dancers and choreographers created a sensation with “Ausdruckstanz” (Expressionist Dance, but really Modern Dance in its widest sense) which influenced generations of dancers and continues to play an important role for contemporary dance and dance therapy.
		The exhibition, based on the archives of the Austrian Theatre Museum, Vienna, will document particularly the work of Rudolf Laban, Grete Wiesenthal, Gertrud Bodenwieser and Rosalia Chladek.
	www.diplomatictraffic.com /calendar_details.asp?ID=517 (100 words)

	Untitled Document (Site not responding. Last check: 2007-10-08)
		For a generation these and other choreographers replaced opera house ballet dancing with Ausdruckstanz.
		Horst saw Wigman perform in Europe and returned to the United States with new ideas for modern dance.
		became the most important exponent of the central European style of modern dance, which came to be known in Germany as Ausdruckstanz (expressive dance)."
	waynesweb.ualr.edu /ExpressionisticDance.htm (293 words)

	Unwinding Kindergarten (Site not responding. Last check: 2007-10-08)
		Meg Mumford, “Performing National Identity: From the Greater Wholes of German Ausdruckstanz to the Gaping Holes of Bausch’s Tanztheater,” conference paper.
		In this piece the part of the refugee is danced by Pina Bausch, the student.
		She said this of her teacher: he never wanted to be imitated.
	www.roehampton.ac.uk /artshum/arts/performance/symposiums/UKindergarten_2.html (3205 words)

	Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz (Choreography and Dance Studies): Current Amazon U.S.A. ... (Site not responding. Last check: 2007-10-08)
		Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz (Choreography and Dance Studies)
		Born in Vienna in 1890, Gertrud Bodenwieser became a leading exponent of Ausdruckstanz (Expressionist Dance) during the 1920s and 1930s, developing a definitive personal style and a philosophy of dance that distinguished her from all her contemporaries.
		In 1938 she emigrated to Australia to start her career afresh with the remaining nucleus of her company from Nazi-occupied Austria.
	www.larrysart.com /books-reviewed/9057550369.html (210 words)

	Brenda Kunda (Site not responding. Last check: 2007-10-08)
		In 1996, she received her BFA in Dance from the University of the Arts in Philadelphia.
		Since then, she has had the opportunity to dance and to create with Ausdruckstanz Dance Theater, SCRAP Performance Group/Myra Bazell, Bald Mermaids, Niki and Jorge Cousineau, Emily Hubler, and David Konyk.
		She has also had the wonderful chance to collaborate with Philadelphia-based composers Odessa Balan and jazz pianist Dave Burell and with Italian film/video artist Sonia Armaniaco.
	www.hessdance.org /choreo/kunda.htm (159 words)

	PastMasters 2001: Grounded in Europe - Tanz Theatre and its Legacy (Site not responding. Last check: 2007-10-08)
		Click here for the current list of Symposium contributors and to download a pdf version of the brochure - which is also available by post - just contact CPR and register for the project as below.
		It was to provide the European cradle for Ausdruckstanz (theatrical dance not based on classical technique).
		The techniques spread to the United States through the work of one of her students, the German-American choreographer, Hanya Holm.
	www.aber.ac.uk /~cprwww/calendar/tanz.htm (475 words)

	Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz; Paperback
		Gertrud Bodenwieser and Vienna's Contribution to Ausdruckstanz; Paperback
		Gertrud Bodenwieser became a leading exponent of expressionist dance during the 1920s and 30s, developing a philosophy of dance.
		Prices subject to change to be advised on confirmation of order.
	www.netstoreusa.com /mubooks/905/9057550369.shtml (172 words)

	U. of Western Ontario /All Locations (Site not responding. Last check: 2007-10-08)
		Gertrud Bodenwieser and Vienna's contribution to Ausdruckstanz / edited by Bettina Vernon-Warren and Charles Warren.
		Vienna: To give an inkling of its nature and culture / George Jackson
		Bodenwieser - exponent of Ausdruckstanz / Gunhild Oberzaucher-Schuller
	alpha.lib.uwo.ca:5701 /record=b2765701 (187 words)

	Find in a Library: Gertrud Bodenwieser and Vienna's contribution to Ausdruckstanz
		Find in a Library: Gertrud Bodenwieser and Vienna's contribution to Ausdruckstanz
		To find a library, type in a postal code, state, province, or country.
		WorldCat is provided by OCLC Online Computer Library Center, Inc. on behalf of its member libraries.
	worldcatlibraries.org /wcpa/ow/b6406fcfb5babcaea19afeb4da09e526.html (40 words)

	Updated 12/16/00 (Site not responding. Last check: 2007-10-08)
		Since 1971 he has worked with a variety of body-centered and energy-based therapies and methods of movement re-education (massage, Alexander Technique, etc.)
		He has performed with Simone Forti, Steve Paxton, City Dance Theater of Boston (a group touring innovative work in the early 1970's) Tumbleweed (a San Francisco-based company of dancers and musicians), Ausdruckstanz Dance Theatre (Philadelphia), and in collaboration with many individual dancer/choreographers and other artists.
		He was co-founder/director of both BWI (Baltimore/Washington Improvisers) and Renegades, a New York City-based sound and movement performance group.
	www.ilstu.edu /~lmerri/Danceclassroom/guestschedule.htm (626 words)

	Welcome to Nimbus Records - Catalogue Index
		In 1907 two sisters, Grete and Elsa Wiesenthal, left the ballet corps of the Vienna Court Opera to devote themselves to the new realm of interpretive dance known as Ausdruckstanz.
		By 1908 they had many enthusiastic admirers, including Gustav Klimt, who invited the sisters to appear at the Kunstschau of 1908.
		To contact us, please use the following telephone number, fax number or e-mail address:
	www.wyastone.co.uk /nrl (272 words)

	[No title] (Site not responding. Last check: 2007-10-08)
		He has lectured and taught workshops on Neo-Futurism at Actor's Theater of Louisville, Columbia College, Northwestern University, Depaul University, Roosevelt University, Associated Colleges of the Midwest Chicago Arts Program, ATHE conferences, and League of Chicago Theaters conferences
		Terry Crews (Modern Dance, Dance Composition, Yoga) has performed with numerous companies across the country including the Texas Shakespeare Festival, Ausdruckstanz Dance Theatre, Virginia Ballet Theater and Synthesis Motion Theater, which she co-founded and served as artistic director.
		She has choreographed for theater as well as dance groups and earned awards for her choreography of Jean-Claude Van Italie's A FABLE and the musical Chicago, both produced in Virginia.
	humanities.uchicago.edu /depts/ishu/lect1.html (2035 words)

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