41. Futurists Imperfect: Expressionism And The Bauhaus we re alive! (Hoppla wir leben!) a play which bridges expressionism, the more Soturn around on your m er rygo-round, dance, laugh, cry, copulategood luck! http://courses.nus.edu.sg/course/ellturne/expressionism.htm

Futurists Imp er fect: Expressionism and the Bauhaus Readings :Brockett Essential History Cardullo and Knopf, Theat er of the Avant-Garde Umbro Apollonio , ed., Futurist Manifestos Theat er of the Bauhaus Schlemm er and Moholy -Nagy (the Schlemm er is also in Huxley/ Witts Futurism Most prominent in Italy and Russia (note howev er that in Russia , the t er m was used more loosely as 'avant-garde," and without its incipient Fascist inclination). 1909: F. T. Marinetti's " Futurist manifesto " published in Le Figaro newspap er Paris (also in Huxley/ Witts , pp. 250-253); two selections to get the idea: "We will sing of great crowds excited by work, by pleasure, and by riot; we will sing of the multicolored, polyphonic tides of revolution in the mod er n capitals; we will sing of the vibrant nightly f er vor of arsenals and shipyards blazing with violent electric moons; greedy railway stations that devour smoke-plumed s er pents; factories hung on clouds by the crooked lines of their smoke; bridges that stride the riv er s like giant gymnasts, flashing in the sun with a glitt

42. H2O - The Mystery, Art, And Science Of Water: Water And Dance Bausch is artistic director and choreographer of the Tanztheater Wuppertal.She is a leader in a dance style called German expressionism. http://witcombe.sbc.edu/water/dance.html

A Sweet Briar College Learning Resource H O - The Mystery, Art, and Science of Water WATER and DANCE Professor Mark Magruder When one looks at water in nature it is almost always in motion. When a human being is moving through space using the elements of time and energy, a dance is occurring. Dancing on water is quite hard, a feat that would evoke much discussion. Christ was said to walk on water and people are still commenting on this impossibility. Dancers have to use illusions brought on by technical effects to create the above feat. Karoliina Kettunen Spirit of the Lake Water is a source of impetus for many choreographers. Water manifests itself many ways on this planet. Lakes, streams, rivers, geysers and oceans all can be catalysts for a piece of choreography. Dancers can glean emotions from water. Water can be tranquil like a still cirque lake in the Rocky Mountains or wild like a hurricane brewing in the Atlantic and pounding the Outer Banks. Visually the sundown or sunrise over water can be arresting and can give one a whole color scheme for costumes or lighting. In 1581

43. REVIEWS Pascal’s simple, cleverly designed and movingly acted production throws naturalismand expressionism, dance, music and dialogue (in English and Yiddish) into http://www.pascal-theatre.com/pascrevdybb.htm

REVIEWS The Dybbuk by Julia Pascal New End Theatre Cheekily upstaging the Royal Shakespeare Company, whose own version of Anski’s classic opens in two weeks’ time, Julia Pascal has transformed Hasidic myth into an urgent play for today a timeless drama that reaches back into the rituals of the past and looks forward into the ashes of the 20th century. Framed by the musings of a young Jewish girl on the sterility of present-day Germany ("I go to Germany and I think that Hitler won" ) the play is set in 1942 in a Jewish ghetto where the inhabitants confront their terror by ritually acting out the story deeply rooted in their culture of the bride who is possessed on her wedding day by the restless soul of the young student who loved and lost her. Pascal’s simple, cleverly designed and movingly acted production throws naturalism and expressionism, dance, music and dialogue (in English and Yiddish) into the melting pot and comes up with something distinctly and refreshingly un-British. Purists will no doubt argue that Anski’s original has been subsumed, but this is genuinely creative work which boasts a final sequence that is as spine-tingling as anything you’ll see in the theatre this year. Lyn Gardner The Independent July 9, 1992

44. Plan-It Purple: Northwestern University's Online Calendar: Showing 4/16/2004 By Ladycat Tryouts $, 4/22/2004 700 PM 1000 PM, Ladycats dance Team. Exhibitions,American expressionism Art and Social Change, 1920s-1950s, 4/20/2004, Mary and http://aquavite.northwestern.edu/cal/pp/index.cgi?ec=1&s=t&d=1082138400

45. Plan-It Purple: Northwestern University's Online Calendar: Showing 4/13/2004 By dance, Graffiti dancers Outbreak 2004, 4/17/2004 1100 PM, Graffiti dancers. Exhibitions,American expressionism Art and Social Change, 1920s1950s, 4/16/2004, Mary http://aquavite.northwestern.edu/cal/pp/index.cgi?ec=1&s=t&d=1081879200

46. The November Group's Finnish Expressionism : Tyko Sallinen In The Fanatics and The Barn dance Sallinen s manner of painting had and brown, approachingthe austere gloom to which Finnish expressionism gradually sank. http://www.fng.fi/fng/html4/en/ateneum/guide/cont/chap9/sect0/page135.htm

Tyko Sallinen Jytkyt, lauantaitanssit Mutilassa Tyko Sallinen : Jytkyt, lauantaitanssit Mutilassa, 1918, 114,5x138, oil, canvas (A IV 3053) [ 61.7 kB The Barn Dance is a heavily excecuted monument to the cheerless Finnish country dance, a depiction of more mundane ecstasy in the Mutala worker's club. In The Fanatics and The Barn Dance Sallinen's manner of painting had undergone a change. The colours had turned to heavy tones of grey, green and brown, approaching the austere gloom to which Finnish Expressionism gradually sank. Colour no longer had its earlier significance, form and line had taken its place. Gradually the wars over Sallinen abated; as political unrest increased and civil war became imminent interest towards waging battles over art declined. When the November Group opened its first group show on a sleety day in November 1917 there were no more disputes about the content of the exhibited works. The wars over Sallinen had paved the way. The November Group's Finnish Expressionism Tyko Sallinen Omakuva Pyykkärit Tukaattityttö Hihhulit Jytkyt, lauantaitanssit Mutilassa

47. TVM Basement: 20th C. European Before WWI -- Overview German Expressionist Art an influential voice on behalf of the vulnerable working class, the graphic art,with hints of expressionism, make Kollwitz Nolde dance around the Golden Calf. http://www.tigtail.org/TIG/TVM/B/European/a. pre WW I/German-Austrian/expression

20th Century European Art 20th Century Overview European Art Before the First World War German Expressionism To get a larger version of a picture, click on the thumbnail version. Expressionism is an artistic style that is distinguished by an emphasis on the expression of emotion by the artist using the line and brush strokes or other constructional elements of the picture, sketch, or drawing. The image is not seen as separate from the artist's construction of it but rather as the expression of an artist's attitude or emotion. In classical painting the artist is important because of his ability to represent objective reality. What the artist feels about his subject is only of secondary importance. What is important is the subject and what the viewer feels. One knows what interests Michelangelo because he draws men beautifully, even his women look like Amazons, more man that woman. But what one admires about him is not the expression of his sexuality but rather his ability to organize and present an objective view of his subject. In expressionism the tables are turned and the viewer is taught to appreciate what the artist feels because seeing the marks and the way the subject is presented shows him how the artist felt about the subject. The artist pushes his own ego out in front of the subject of the picture or at the very least as co-equal to it.

48. Dance Theatre Of Ireland Their earliest dance training was in Abstract expressionism with Nancy Hauser andHanya Holm at the Centre for the Performing Arts in Minneapolis, where they http://www.dancetheatreireland.com/pages/artdirec.htm

Dance is a language with a power to encourage the spirit, evoke memory and reflect ideas. In our work we construct dance, imagery and music that reflects on living, life, people, or on qualities of movement which – in and of themselves – take our imaginations to those places. Dance, and dancers, are perhaps one of the last remarkable vestiges of living in the moment—of working in ways that don’t necessarily compute—of working with one’s body and imagination, and ultimately with each other a rigorous place where we rely on the body’s wisdom to respond in new ways to what it already knows or to what the mind reflects upon. There are many ways into that centre it’s a hard life, but a magnificent world.” Robert Connor and Loretta Yurick have been at the forefront of the development of contemporary dance in Ireland throughout their careers as performers, choreographers, teachers and producers. Robert and Loretta hold BA's in Psychology and Urban Studies, respectivly. Their earliest dance training was in Abstract Expressionism with Nancy Hauser and Hanya Holm at the Centre for the Performing Arts in Minneapolis, where they were also taught by then Company members, Ralph Lemon and Steve Koester. Since then they have worked in a variety of contemporary dance styles including Limon, Cunningham, Nikolais and release techniques as well as contact improvisation. Together and separately they have created over 30 original works for Dance Companies and Festivals

49. Seattle 1 culmination of Eifman s style and has all the hallmarks of his work dance as highdrama, big showy effects, bold images and a hypertheatrical expressionism. http://www.ardani.com/seattletimes1.htm

SeattleTimes Russian Dance Star Stayed True to Vision by Mary Murfin Bayley , March 22, 2001 Boris Eifman's dances have sometimes gotten him into trouble. They've been censored and picketed in the Soviet Union and they've shocked those purists wedded to a more abstract concept of ballet. But the choreographer kept true to his own bold, breakthrough vision of dance as a vehicle of passionate theatricality. Now Eifman and his 25-year old company, the Eifman Ballet of St. Petersburg, have an international following and win critical praise from New York to Tokyo. Because his work is dramatic and visceral but still built on classical technique, it draws both those who love ballet and those who think they hate it. "A Russian Hamlet: Son of Catherine the Great" which opens at Meany Theater tonight, is the culmination of Eifman's style and has all the hallmarks of his work: dance as high drama, big showy effects, bold images and a hyper-theatrical expressionism. Dance review "A Russian Hamlet: The Son of Catherine the Great," 8 o'clock tonight, tomorrow and Saturday, Meany Theater, University of Washington. Tickets: $52. 206-543-4880. Since he first began choreographing in Siberia at the age of 13, Eifman, now 57, has never wavered from his vision of dance as spectacle and drama. At one point the government tried to close down his company and the KGB asked him to leave the country.

50. Dance Video Collection- Lilly Library F&V From Free dance to dance Theatre, German expressionism (dance of the Century) 6407,Cass. 3. PAL format. 53 mins. Paris Amaya, 1992. Sonia Schoonejans, dir. http://www.lib.duke.edu/lilly/dancevid.htm

Lilly Library, Duke University Film and Video Collection A B C D ... W 1992 Inductions into the Beach Shaggers Hall of Fame 60 mins. Media Consultants, Inc., 1992. Shows couples dancing the shag at Sand Flea Beach Club in Greenville, S.C. 50 Turns and Jumps 37 mins. Riz-Biz Productions, 1994. Bob Rizzo teaches over 50 turn and jump variations, which can be incorporated into jazz or dance classes or choreography; for beginner through advanced dancers !A Bailar! Journey of a Latin Dance Company. 30 mins. NY: Cinema Guild, 1988. troupe. About the Arts: Merce Cunningham WNYC-TV, 1986(?) Barbaralee Diamonstein interviews Cunningham on his career and dance. About Tap. Direct Cinema, 1985, 27 min. Gregory Hines along with some other veteran dancers talks about tap dancing. Abstract Ballet from Academic to Classical Abstraction. (Dance of the Century) #6407, Cass. 2. PAL format. 53 mins. Paris: Amaya, 1992. Sonia Schoonejans, dir. Influence and legacy of George Balanchine. Aeros 32 mins. Electronic Arts Intermix, 1990. By Burt Barr, and choreographed by Tricia Brown, this is a look at the evolution of Trisha Brown's dance work Astral Convertible.

51. Library Research Workstation: Expressionism, Epic, & Absurdism georg buchner t=theatre journal s=Kandinsky Wassily s=expressionism bibliographyk and ephemeral publications on all aspects of theater, performance and dance. http://www.library.yale.edu/humanities/theater/instruction/expressionism.htm

This web page is an online workshop for students in David Krasner's Theater Studies 375a, Topics in Drama and Performance. This guide should provide a framework and a starting point for research, but there are also people to help with specific questions. The library has several research workshops that expand on the online tutorials provided here and there is always a reference librarian who can help at the Reference Desk in Sterling Memorial Library. Barbara Rockenbach Instructional Services Librarian, Arts Library September 10, 1999 Table of Contents: 2. Finding... short critical essays in reference books theater reviews in magazines and newspapers Selected Bibliography People and Places to know in the Yale Library Library Research Workstation -The Yale University Library Research Workstation is the primary gateway to all of the Library's electronic resources (including Orbis ), as well as information about print and manuscript collections.

52. Biblioteka Uniwersytecka UMK. Archiwum Emigracji. David A. Goldfarb to conjure its physical presence in the body of the reader drawn into the dance. Atmospherein Berlin, in Paul Raabe, ed., The Era of German expressionism, tr http://www.bu.uni.torun.pl/Archiwum_Emigracji/Goldfarb.htm

EXPRESSIONISM AND THE VISUAL IN JÓZEF WITTLIN'S "HYMN OF HATRED" David A. GOLDFARB (USA) Kasimir Edschmid, forced to label the metaphysical consciousness of the reaction to impressionism in Berlin, stated in 1918: The Expressionist poet does not see, he beholds. He does not describe, he experiences. He does not represent, he forms anew. He does not accept, he seeks. Now there is no longer a chain of facts: houses, factories, sickness, whores, screams and hunger. Now there is the VISION of these things. Facts are significant only in so far as the hand of the artist reaches through them to grasp what lies beyond. He sees what is human in a whore, what is divine in a factory. He weaves the individual phenomenon into that great pattern, which goes to make up the world. By nature any such attempt to explain Expressionism betrays the spirit of the enterprise, but it is cast as part of a manifestothe only genre which could impart the emergent, revolutionary character of the movement to what was an otherwise reflective, intellectual activity. "Facts" for Edschmid stood in the way of reality. In the face of the demonstrations of Wittgenstein and the Logical Positivists who would argue more and more that we could never know "things" but through "acts," the Expressionists sought to produce art which achieved its effect without any intellectual mediation or logical calculus. The Expressionists attempted to create pure "VISION"sense perception in itselfand not the knowledge produced by vision.

53. The Drama theater social and psychological realism, nationalist theater, translations ofclassics, other experiments folk theater, expressionism, dance theater, and http://www.msuiit.edu.ph/cass/english/courses/engl95/engl95.html

ENGLISH 95 THE DRAMA updates essays co-curricular references links grading professor course description This course introduces the drama. It traces the development of Western drama in ancient Greece and Rome from drama’s origins in religious rituals, to those produced in Medieval times, to drama’s flourishing in the Renaissance, its later developments in realistic/representational theater, and to its eclectic forms in the modern and post-modern periods. A diachronic-synchronic study provides the student with the tools for analyzing drama both formally and within an historical and socio-cultural milieu. The class will discuss representative plays from each period and country. The course will also present an overview of Philippine and Asian drama to allow the student a comparative basis to distinguish among Asian, Western, and Philippine drama. credits: 3 units semester offered: prerequisites: English 1, 2, 3, 4 objectives course outline At the end of the course, the students are expected to: GENERAL OBJECTIVES Understand the drama and its elements and qualities;

54. LII - Results For "abstract Expressionism" Mondrian were pioneers in the art movement known as Abstract expressionism. Heretheir impact on art, photography, music, theater, dance, architecture, poetry http://sfpl.lii.org/advanced?searchtype=subject;query=Abstract expressionism;sub

55. About The Academic Program -- BSC Theatre & Dance The course has previously focused on such topics as Greek tragedy, expressionism,20th century Irish playwrights, the works Winterdance and dance Kaleidoscope. http://www.bridgew.edu/theatre/bsctd/acad/about_pgm.htm

In the Shadow Of Menlo Park - 2002 About the Programs These Programs Are For- Mainstage Mission Statement Program Objectives ... BSC Catalogue BRIDGEWATER STATE COLLEGE UNDERGRADUATE PROGRAM IN THEATRE ARTS AND DANCE Academic And Practical Preparation For All Areas Of Theatre And Dance Art These Programs Are For: High school graduates interested in exploring or pursuing theatre or dance as a career or as avocation. Students preparing to teach theatre or dance in public or private school, community, entrepreneurial, or commercial settings. Non-traditional students pursuing careers in the theatre or dance, or in teaching. Students preparing for graduate or conservatory study in theatre or dance art. People pursuing further training or acquiring specific theatre or dance related skills at a post baccalaureate level. Students preferring programs that allow a significant level of individualized attention. Students seeking personal or professional development through theater arts training. MAINSTAGE PRODUCTION Opportunities for all students to participate actively in dance and theatre are available each academic year in a diverse production schedule: Mainstage productions are presented in a 1400 seat theatre with a fully-equipped proscenium stage. The main stage is occasionally converted into a 120 seat arena or thrust theatre. Student productions and showcases are presented in a 200 seat lecture hall with a small proscenium stage, or in a lecture room with a semi-circular open playing area.

56. Assessments Of Voaden Voaden invented a new theatrical form which he called Symphonic expressionism, combiningmusic, art, dance, lighting, colour, dialogue and choral speech in a http://www.lib.unb.ca/Texts/Theatre/voaden/anthony_preface.htm

“Preface” to “Herman Voaden” In Geraldine Anthony , ed., Stage Voices: Twelve Canadian Playwrights Talk About Their Lives and Work Toronto: Doubleday Canada, 1978. Like John Coulter, Herman Voaden's contribution to Canadian theatre lies in the two distinct areas of political administration and drama experimentation. Both men are of the same generation; both participated in programs to forward the production of Canadian plays; both used the mass media to make public their ideas for government assistance to the arts; both were leaders in their support of theatre in Canada; both experimented with and provided Canadian drama with new forms. Look Both Ways , Macmillan, 1975). Six Canadian Plays , traces these movements that led up to his new genre. In particular he points to Ernst Toller's play, Masses and Men , and comments on the ballet movements of the characters; the choruses of workers, bankers, jailers; the use of lighting techniques and colour. Gordon Craig and Adolphe Appia influenced Voaden, as did the new techniques of Eugene O'Neill. Poetic, romantic and symbolic innovations in drama as well as new approaches in dance and music – all contributed to the crystallization of Symphonic Expressionism. Voaden’s experimentation had, sadly enough, no followers either in Canada or elsewhere. The reasons he gives in a letter to this editor, dated March 21, 1977 as follows:

57. Artificial Expressionism audible perception and started to explore the listening side of dance music the image,pixel and audio glitches become the context for Artificial expressionism. http://www.semiconductorfilms.org/filmstills/texts/Artificial Expressionism.htm

Artificial Expressionism Article for SonarText 2002 by Ruth Jarman and Joseph Gerhardt a.k.a. Semiconductor www.semiconductorfilms.org There is a current sense that the hierarchy of ‘digital visual art versus electronic music’ is being dismantled. Artists and musicians alike are transcending the language of image and sound as these territories begin to draw from the same new technologies. This crossover of practices and techniques is evolving in the form of short films and videos, where data flow and the interpretation of information is explored formally and representationally. Artists from Qubo Gas to reMI are conducting unique explorations in an emerging international network. As audiences adapt to changing trends alongside these developments, new forms of expression are rapidly emerging, keeping pace with technological progress. From cinema or internet based films to live video performances, the context is constantly in flux. This pixel fuelled abstraction puts a static style in motion that was historically confined to the printed page. Set against the digital noise and sample degradation of certain electronic music, Artificial Expressionism the scene, has emerged. These artists are producing the work that sets an ultimatum for the termination of wallpaper visuals. The initial wave of underground video for live and experimental electronic music in the mid-nineties was mainly concerned with sampling and collaging images. It re-contextualised the TV culture of mass media and focused on disinformation by under- mining the medium and rhythmically choreographing video bytes to the music.

58. DeviantART: Lion-dance Favourite style or digital art greyscale, monohromatics, motion, abstract expressionism,doodling, kibôyoshi Apr 18, 2004, 104303 PM. ~liondance dance magic http://lion-dance.deviantart.com/

Want to get rid of ads? Subscribe to deviantART now! deviant ART U sername: P assword: S earch: Browse Shop Today Forum Software Services Content ~lion-dance Dance magic, dance! is a Wise Ass is Male is a deviant since May 29, 2003, 6:06 PM has pageviews last visited 8h 56m 19s ago is currently is an AIM user; Love Scarecrow Status: Member Deviations: Deviation Comments: Deviant Comments: Deviant Comments Received: News Comments: Forum Posts: Journal Entries: Shouts: Favourites: Website Email General Gallery Scrapbook Journal Activity Featured Deviation I found my star Recent Deviations Home Movies Jun 7, 2004 akon- day one.. Jun 5, 2004 Labyrinth... SHINI-FIED May 31, 2004 Macabre and Horror May 30, 2004 the break point - 4 May 25, 2004 the break point - 3 May 25, 2004 the break point - 2 May 25, 2004 the break point - 1 May 25, 2004 Hogwarts GP - issue ten May 20, 2004 Hogwarts GP - issue nine May 20, 2004 Deviation Gallery Recent Favourites Scabs by ~ WolfieArtGuy Jun 4, 2004 Dance Dance Red Revolution by * shi-chahn Jun 4, 2004 A Sword Named Izanami by ~ esodesign Sep 24, 2003

59. COLLEGE OF CHARLESTON 2. Provide students an opportunity to explore the art of African dance andrelate its technique, origin, and expressionism to any medium of dance. http://www.cofc.edu/~pehd/adjuncts/139.html

COLLEGE OF CHARLESTON PEHD 139 AFRICAN DANCE SPRING, 2004 2 SEMESTER CREDIT HOURS TIME: M W 3:00 p.m. to 4:15 p.m. PLACE: Rm. 225 INSTRUCTOR: Ms. Linda Jean Harvey OFFICE: Silcox Gymnasium OFFICE HOURS: W 4:15 p.m. to 4:45 p.m. by appointment OFFICE PHONE: PREREQUISITES: None GRADING: A, B+, B, C+, C, D, F COURSE PEHD is a course that broadens and enhances the cultural scope of DESCRIPTION: African Dance as far as origin, performing arts techniques, suggested realism and expressionism of the art form are concerned. REQUIRED TEXT: N/A REQUIRED Course handouts MATERIALS: COURSE 1. Exhibit a picturesque image of African Dance as it depicts authenticity, OBJECTIVES: originality, and diversity through its art form. 2. Provide students an opportunity to explore the art of African Dance and relate its technique, origin, and expressionism to any medium of dance. 3. Engage the students through improvisational choreography, study groups and lecture demonstrations to create a culminating experience that will result in a performance involving all class participants. COURSE Skill objectives recorded, performed and documented

60. Florida Dance Festival Faculty danceTHEATER TECHNIQUE (Octavio Campos, June 21-26) This rigorously physical andtheatrical modern dance class is based in the expressionism of Pina Bausch http://www.fldance.org/festival_courses.htm

Courses AFRO-CUBAN DANCE (Elena Garcia, June 28-July 2) This class offers an overview of the African heritage of the Cuban culture. Divided into five sessions, the program will include some dances from the West African Yoruba culture in the way they have been preserved in Cuba as well as a more contemporary view of this dance form. Outline of sessions is as follows: Session I: Introduction to Afro-Cuban dance. This session is an introduction to the main body language of this dance, such as torso undulations and isolations of the hips and shoulders. Session II: Male Orishas . Dances of three male deities of the Yoruba culture: Eleggua, who represents the beginning and end of everything; Shango, god of thunder and Oggun, god of war. Session III: Female Orishas.

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