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Agnes George de Mille was an American dancer and choreographer.
Contemporary dance is a genre of dance performance that developed during the mid-twentieth century and has since grown to become one of the dominant genres for formally trained dancers throughout the world, with particularly strong popularity in the U.S. and Europe. Although originally informed by and borrowing from classical, modern, and jazz styles, it has come to incorporate elements from many styles of dance. Due to its technical similarities, it is often perceived to be closely related to modern dance, ballet, and other classical concert dance styles.
Rudolf (von) Laban, also known as Rudolph von Laban, was an Austro-Hungarian, German and British dance artist, choreographer and dance theorist. He is considered a "founding father of expressionist dance", and a pioneer of modern dance. His theoretical innovations included Laban movement analysis and Labanotation, which paved the way for further developments in dance notation and movement analysis. He initiated one of the main approaches to dance therapy. His work on theatrical movement has also been influential. He attempted to apply his ideas to several other fields, including architecture, education, industry, and management.
Kurt Jooss was a famous German ballet dancer and choreographer mixing classical ballet with theatre; he is also widely regarded as the founder of Tanztheater. Jooss is noted for establishing several dance companies, including most notably, the Folkwang Tanztheater, in Essen.
Expressive dance from German Ausdruckstanz, is a form of artistic dance in which the individual and artistic presentation of feelings is an essential part. It emerged as a counter-movement to classical ballet 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 modern dance and free dance, expressionist dance or new artistic dance, in Anglo-American countries German dance. In 2014, modern dance with the stylistic forms and mediation forms of rhythmic and expressive dance movements was included in the German List of intangible Cultural Heritage as defined by the UNESCO Convention for the Safeguarding of Intangible Cultural Heritage. German Expressionist dance is related to Tanztheater.
Mary Wigman was a German dancer and choreographer, notable as the pioneer of expressionist dance, dance therapy, and movement training without pointe shoes. She is considered one of the most important figures in the history of modern dance. She became one of the most iconic figures of Weimar German culture and her work was hailed for bringing the deepest of existential experiences to the stage.
The Joffrey Ballet is an American dance company and training institution in Chicago, Illinois. The Joffrey regularly performs classical and contemporary ballets during its annual performance season at the Civic Opera House, including its annual presentation of The Nutcracker.
The German Tanztheater grew out of German Expressionist dance in Weimar Germany and 1920s Vienna. The term first appears around 1927 to identify a particular style of dance emerging from within the new forms of 'expressionist dance' developing in Central Europe since 1917. Its main exponents include Mary Wigman, Kurt Jooss and Rudolf Laban. The term reappears in critical reviews in the 1980s to identify the work of primarily German choreographers who were students of Jooss and Wigman, along with the Austrian Johann Kresnik. The development of the form and its concepts was influenced by Bertolt Brecht and Max Reinhardt, and the cultural ferment of the Weimar Republic.
Ballet d'action is a hybrid genre of expressive and symbolic ballet that emerged during the 18th century. One of its chief aims was to liberate the conveyance of a story via spoken or sung words, relying simply on quality of movement to communicate actions, motives, and emotions. The expression of dancers was highlighted in many of the influential works as a vital aspect of the ballet d'action. To become an embodiment of emotion or passion through free expression, movement, and realistic choreography was one chief aim of this dance. Thus, the mimetic aspect of dance was used to convey what the lack of dialogue could not. Certainly, there may have been codified gestures; however, a main tenant of the ballet d'action was to free dance from unrealistic symbolism, so this remains an elusive question. Often, props and costume object were involved in the performance to help clarify character interaction and passions. An example would be the scarf from La Fille mal gardée, which represents the love of the male character and which the female character accepts after a coy moment. Props were thus used in harmony with dancer movement and expression. Programs for plays were also a place to explain the onstage action; however, overt clarifications were sometimes criticized for sullying the art of the ballet d'action.
Yat Malmgren was a Swedish dancer and acting teacher, born in Gävle, Sweden to Gustaf Sigurd Eriksson and Signe Emma Maria Malmgren.
Thomas R. Skelton was an American lighting designer. In a career spanning more than four decades, he was best known for his lighting designs for ballet and Broadway theatre productions.
Susanne Linke is an internationally renowned German dancer and choreographer who is one of the major innovators of German Tanztheater, along with Pina Bausch and Reinhild Hoffmann.
Modern dance is a broad genre of western concert or theatrical dance which includes dance styles such as ballet, folk, ethnic, religious, and social dancing; and primarily arose out of Europe and the United States in the late 19th and early 20th centuries. It was considered to have been developed as a rejection of, or rebellion against, classical ballet, and also a way to express social concerns like socioeconomic and cultural factors.
Vicente Balbino Nebreda Arias was a choreographer and dancer who was considered a Venezuelan pioneer for dance during the 1940s. He was part of the Cátedra de Ballet del Liceo Andrés Bello, the first attempt at a formal dance school in the country. Later on, he danced with Ballet Nacional de Venezuela, the first long term professional company. Nebrada was also one of the first Venezuelan dancers to have an international career, he worked with Roland Petit’s company in France, the Joffrey Ballet, the Harkness Ballet in the United States, and Ballet Nacional de Cuba. His extensive career as a choreographer began in 1958, when he began his professional career, and ended with the creation of his version of The Nutcracker in 1996. He created 61 original choreographies and adaptations of universally classic repertoires for diverse companies all over the world.
Lilian Harmel was an Austrian dancer, choreographer and pedagogue.
Kevin Dreyer is an American lighting designer of dance, theatre, opera and film, Full professor of Theatre at the University of Notre Dame and resident lighting designer for the Notre Dame Shakespeare Festival. Dreyer is also a dance lighting reconstructor for the works of Gerald Arpino, Moses Pendleton and Kurt Jooss.
Arthur Christian Holder is a British-Trinidadian artist who has worked in many fields – like his father Boscoe Holder: as a dancer, choreographer, actor, teacher, costume designer, writer, painter and singer. He is most notable as "one of the most iconic dancers of the Joffrey company in the 1970s, perhaps in its history."
Johann "Hans" Kresnik was an Austrian dancer, and theater director working in the tradition of German Tanztheater who is known for his politically charged approach to dance.
Sigurd Leeder was a German dancer, choreographer and dance education theorist. He was born in Hamburg on 14 August 1902, the son of Carl Eduard Gottfried Leder, lithographer, and Martha Auguste Anna Henriette Friedrich. He died in Herisau, Switzerland, on 20 June 1981. He developed a method of teaching expressive dance and contributed, with Albrecht Knust, to the development and dissemination of labanotation, which pioneered the written language of symbols to record and represent modern dance.
Masks have a long history of use in rituals and dance. In the Western world, masks have been used in dances to portray certain characters, disguise identity, and to depersonalize the dancer. The types of masks and their usage in dance have evolved in time, and are still employed in modern choreographic works.
References
- Bremster, M. ed. International Dictionary of Ballet, Vol. 1 and 2. Detroit: St James Press, 1993. ISBN 1-55862-084-2
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