History of Modern Dance
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Transcript of History of Modern Dance
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HISTORY OF MODERN DANCE
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CHARACTERISTICS OF MODERN DANCE
Movement driven by emotion
Low center of gravity
Dancers embrace the ground
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LINEAGE
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EXPRESSIONIST DANCE
“Ausdrucktanz”
Europe, late 1800’s - early 1900’s
Movement as expression
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FRANÇOIS DELSARTE
Musician and teacher
Developed “Delsarte” acting style• Focus on human interaction,
gesture as expression• Known worldwide by 1890’s
Inspired dancers:• Isadora Duncan, Ruth St.
Denis, Ted Shawn
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EMILE JAQUES-DALCROZE
Musician, composer
Developed eurythmics
Founded school in 1910• Taught the Dalcroze
Method
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RUDOLF VAN LABAN
Dance artist, theorist
Created Labanotation
Established schools throughout
Europe
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MARY WIGMAN
Student of Dalcroze and
Laban
Challenged tradition
Dark pieces
Expansion and contraction
The Witch: http
://upload.wikimedia.org/wikipedia/commons/
b/b0/Mary_Wigman_Witch_Dance.ogv
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FREE DANCE
America, late 1890’s – early 1900’s
Spread to Hungary, Russia, Eastern Europe
Rebellion against ballet
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LOIE FULLER
Child actress, burlesque dancer
Developed her own natural
movement and improvisation
The first modern dancer
Innovative lighting
and costume design
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ISADORA DUNCAN
Created her own philosophy of
dance• Natural movement as
connection between emotion and movement
Greek and Freedom influences
Performed to mix reviews
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RUTH ST. DENIS & TED SHAWN
Ruth- studied Delsarte’s
method
Eastern influences
Opened Denishawn School• Taught Martha Grhama,
Doris Humphrey, Charles Wiedman
Established Jacob’s Pillow
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MODERN DANCE
1923: Graham leaves Denishawn to work
as a solo artist
1928: Humphrey and Weidman set up their
own school
1933: Shawn founds all male dance group
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MARTHA GRAHAM
“Picasso” of dance
Student of Denishawn
The Martha Graham Center of
Contemporary Dance
Contraction and release
Long career
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DORIS HUMPHREY& CHARLES WIEDMAN
Students of Denishawn
Humphrey-Weidman
Company
“Fall and recovery”
Unique American style
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MERCE CUNNINGHAM
Student of Martha Graham
Merce Cunningham Dance
Company• Used Yì Jīng to
choreograph• Non-representative
dance
Legacy Plan
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ALVIN AILEY
African American Modern
Dance
Alvin Ailey American Dance
Theater
“A ballet bottom,” and a
“modern top”
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REACTION
1927: Newspapers begin regularly assigning
dance critics
Universities and colleges accepted modern
dance
Audiences often felt confused, but
mesmerized
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INFLUENCE
Post-modern dance
Contemporary
Improvisation, Contact
Improvisation