By Ramsay Burt
Alien our bodies is an engaging exam of dance in Germany, France, and the U.S. in the course of the Nineteen Twenties and Nineteen Thirties. Ranging throughout ballet and glossy dance, dance within the cinema and Revue, Ramsay Burt seems to be on the paintings of ecu, African American, and white American artists. one of the artists who characteristic are: * Josephine Baker * Jean Borlin * George Balanchine * Jean Cocteau * Valeska Gert * Katherine Dunham * Fernand Leger * Kurt Jooss * Doris Humphrey fascinated with how artists answered to the alienating stories of recent existence, Alien our bodies makes a speciality of problems with: * nationwide and 'racial' identification * the hot areas of modernity * fascists makes use of of mass spectacles * ritual and primitivism in glossy dance * the 'New girl' and the slim sleek physique
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Extra info for Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance
He himself, as a dancer, had Choreographing the disturbing new spaces of modernity 25 more than once been on the other end, as it were, of the metropolitan dandy’s quest for the desired Other. His sister, Bronislava Nijinska (1891–1972) recalls in her memoirs an elegantly dressed young man who was always hovering around her brother while the latter was rehearsing backstage at the Theâtre du Châtelet in Paris before the Ballets Russes’ celebrated first performance there in 1909. I found a moment to ask Vaslav who he was.
One should not, however, assume that nationalism necessarily implies right-wing politics in the first quarter of the twentieth century. Individuals thought in national terms because the notion of internationalism was at the time largely undeveloped. It was only in the 1930s that various left-wing alliances and coalitions developed with an international outlook, in an attempt to oppose the right-wing nationalism of totalitarian regimes in Italy, Germany and Spain. During the war Cocteau was not the only artist at that time living in France to discover patriotic feelings for France while that country was being attacked and occupied by the German army—Isadora Duncan, for example, in her dance ‘The Marseillaise’.
To represent the hectic pace of modern living required new, less cumbersome theatrical means. The new electric lighting equipment enabled progressive theatre directors in the early twentieth century to utilise a subtly responsive and easily changed succession of expressive lighting states. Sokel commented: The lighting equipment behaves like the mind. It drowns in darkness what it wishes to forget and bathes in light what it wishes to recall. Thus the entire stage becomes a universe of the mind, and the individual scenes are not replicas of three-dimensional reality, but visualised stages of thought.
Alien Bodies: Representations of Modernity, 'Race' and Nation in Early Modern Dance by Ramsay Burt