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DNCE 345 - Test 1 > Lecture 4 > Flashcards

Lecture 4 Flashcards

1
Q

movements in german expressionism

A

hands very wide and dramatic, body in very dramatic poses

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2
Q

what are 2 other strands of modernism

A
  1. expressionism

2. social realism

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3
Q

characteristics of expressionism

A

psychological, introspective, realistic

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4
Q

how was german expressionism different from just expressionism

A

had all the same characteristics, plus a fascination of death and fate

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5
Q

how was expressionism introspective

A

looking deep into the psyche

  • era of freud and psychology
  • interest in complex emotions and the inner workings of the psyche
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6
Q

characteristics of social realism

A

commenting on current social and political issues in art

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7
Q

what was modern dance referred to as in germany

A

expressive dance

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8
Q

did modern dance in germany develop before or after that in america

A

at the same time

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9
Q

who were the 3 prime movers of german modern dance

A
  1. rudolph labam
  2. mary wigman
  3. kurt joos
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10
Q

rudolph laban

A

dance and choreographer

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11
Q

who was the first to develop the concept of german expressive dance

A

rudolph laban

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12
Q

what was rudolph laban’s dance company

A

dance-theatre laban

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13
Q

dance-theatre laban

A

toured, was successful, laban performed with

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14
Q

what kinds of movement was rudolph laban interested in

A

all kinds of movement - not just that that was commonly performed in a theatre

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15
Q

who was the first to use the term dance theatre

A

rudolph laban

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16
Q

who created movement choirs

A

rudolph laban

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17
Q

movement choirs

A

many bodies moving together, like a choir of singers

  • large scale
  • performed in the community
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18
Q

who performed in movement choirs

A

non professionals and amateurs

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19
Q

ex of movement choir

A

one in vienna, 10,000 performers

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20
Q

how many schools dance did rudolph laban establish in germany

A

4

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21
Q

what is the reading on rudolph laban about

A

dance in education

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22
Q

who did rudolph laban primarily work with

A

he worked with professionals through his dance company but also non-professionals through his movement choirs

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23
Q

what was rudolph laban’s major contribution to 20th century modern dance

A

himself as a theoretician

- he was the first artist to give modern dance a solid theoretical foundation

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24
Q

what 2 things did rudolph laban develop to give modern dance a theoretical foundation

A
  1. theory of movement

2. system of dance notation

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25
Q

what was rudolph laban’s system of dance notation

A

labanotation

  • still around today
  • takes 4 years to fully learn
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26
Q

what are the 4 main categories in rudolph laban’s theory of movement

A
  1. body
  2. effort
  3. shape
  4. space
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27
Q

body category in rudolph laban’s theory of movement

A
  • the initiation of movement from specific body part
  • connection of body parts to each other
  • sequencing of movements between parts of the body
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28
Q

effort category in rudolph laban’s theory of movement

A

movement qualities and dynamics, described in poetic terms as well as 4 specific types of efforts

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29
Q

4 types of efforts

A
  1. space
  2. weight
  3. time
  4. flow
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30
Q

space type of effort

A

direct vs. indirect

- going straight to something vs. meandering

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31
Q

weight type of effort

A

strong vs light

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32
Q

time type of effort

A

quick vs. sustained

- fast movement vs. slow movement

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33
Q

flow type of effort

A

bound vs. free

- ends somewhere vs. just keeps going, had no borders, extends into space

34
Q

effort actions

A

combinations of space, weight, time and flow

35
Q

ex.s of effort actions

A

float: indirect, light, sustained
punch: direct, strong, quick

36
Q

shape category in rudolph laban’s theory of movement

A

body shape and the changing body shape as it goes through movements

37
Q

space category in rudolph laban’s theory of movement

A

relationship between the body and 3D space

- where is the movement going, what path does it take, is it high or low level

38
Q

movement scales

A

help warm up the bod and become more aware of the 3D space

39
Q

where were movement scales performed

A

within an icosahedron (20 faceted, 3D geometric object. 24 points in space - 8 direction and 3 levels each)

40
Q

what was practicing within an icosahedron particularly important for

A

places behind the dancers

41
Q

what is the only form of movement notation that can notate ANY form of movement (not just dance)

A

labanotation

42
Q

what is the major dance notation today

A

labanotation

43
Q

how is labanotation different from musical notation

A

musical notation is simple - children can learn it

labanotation is complex and takes 4 years to learn

44
Q

who has used labanotation

A

dancers, athletes, actors, researchers, sociologists, psychologists, therapists, educators

45
Q

why does labanotation have such a wide application

A

because it can be used to notate any form of movement

46
Q

who was laban’s most influential pupil

A

mary wigman

47
Q

wigman and laban

A

she collaborated with him, helped him demonstrate in class

48
Q

how did wigman meet laban

A

through a friend

49
Q

what was wigman obsessed with

A

3D space

50
Q

what was wigman one of the major contributors to

A

the development of modern dance in europe in 1920s

51
Q

who was wigman a student of

A

jacques dalcrose

52
Q

jacques dalcrose

A

developed dalcrose eurthymics, an approach to music education through movement so children could understand and embody movement

53
Q

t or f: dalcrose eurthymics lives on today

A

true, still taught today as part of dance music education particularly for children

54
Q

besides wigman who else was influenced by dalcrose

A

marie rambert

55
Q

why was marie rambert brought in to help najinsky

A

because of her strong influence from dalcrose

56
Q

how did wigman see dalcrose’s approach to movement

A

as limiting, she didn’t want to always be tied to music

- he always treated music as the most important rather than movement

57
Q

wigman took laban’s theories of movement and developed her own form of expressive dance as…

A

a solo performer who choreographed her own dances and as a choreographer of group dances as well

58
Q

wigman’s works

A

serious and introspective

59
Q

ex of wigman’s works

A 
witch dance
dance of sorrow
lament
death call
dance into death
60
Q

how can wigman’s work be described

A

ecstacy of gloom

61
Q

what did wigman often use in her choreography

A

masks, felt it allowed the dance to change from being an ordinary person to being a new character, allowing them to go through a metamorphosis

62
Q

what was wigman particularly innovative in

A

her use of music - she performed in silence, to percussion (drums) and to the spoken word

63
Q

how did wigman approach the relationship between music and movement

A

explored music to movement rather than the other way around

64
Q

t or f: wigman opened her own school in germany

A

true

  • 4 year curriculum in dance AND other arts
  • successful
65
Q

what was wigman’s school influential in

A

ensuring the continuation of expressive modern dance in europe in the 20th century
- trained the next generation of expressionist dancers in germany

66
Q

hanya holm

A

one of wigman’s pupils that came to america and continued the german expressionist dance tradition

67
Q

kurt jooss

A

laban’s assistant and one of his principle dancers

68
Q

laban and kurt jooss

A

studied with him, performed in his company, demonstrated in his class

69
Q

what was kurt jooss strongly influenced by

A

laban’s ideas

70
Q

t or f: kurt jooss started his own company

A

true, called Jooss Ballet

71
Q

why did kurt jooss start a school too

A

in ordet to train the dancers in the style needed for his company

72
Q

what did kurt jooss based the training of his dancers on

A

the work of laban and ballet technique

73
Q

before jooss, how was ballet seen in germany

A

there was no tradition of ballet in germany prior to him

74
Q

what did kurt jooss change in ballet

A

he extended the range of expression

75
Q

what was kurt jooss most successful work

A

the green table

76
Q

the green table

A

a satirical, classical protest ballet against uselessness of war
- diplomats discussing war around a green table, and the after that the repercussions of the decision to go to war

77
Q

what happened to the green table

A

its still performed today by ballet companies in europe and NA

78
Q

how was war symbolized in the green table

A

as the figure of death

79
Q

what did kurt jooss’s ballets always reflect

A

current concerns of society

80
Q

social realism

A

commentary by the artist through their work, it’s social/political, dealing with current events, they make a point/commentary

81
Q

what did kurt jooss’s ballets do

A

made a social statement

- think social realism

82
Q

what was the social realism behind the green table

A

that everyone suffers to some extent other than the diplomats

DNCE 345 - Test 1 (4 decks)

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