Dancing in arenas. Choreographers at the 1936 Olympic Games
- An interview with Laure Guilbert,
- conducted by Céline Gauthier,
- translated by Angela Conquet
Pages 10 to 19
Cite this article
- An interview with GUILBERT, Laure,
- conducted by GAUTHIER, Céline,
- translated by CONQUET, Angela,
- An interview with Guilbert, Laure.,
- et al.
- An interview with Guilbert, L.,
- conducted by Gauthier, C.,
- translated by Conquet, A.
https://doi.org/10.3917/cdd.001a.0010
Cite this article
- An interview with Guilbert, L.,
- conducted by Gauthier, C.,
- translated by Conquet, A.
- An interview with Guilbert, Laure.,
- et al.
- An interview with GUILBERT, Laure,
- conducted by GAUTHIER, Céline,
- translated by CONQUET, Angela,
https://doi.org/10.3917/cdd.001a.0010
Notes
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[10]
This festive play was led by Hanns Niedecken-Gebhard and performed by 10,000 trained and untrained dancers and gymnasts in the Berlin stadium.
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[11]
This project brought together 1000 untrained Laban choir performers from all over Germany, presented on the Dieter Eckart grass field of the Berlin Stadium. Goebbels decided to cancel it after the dress rehearsal.
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[12]
This competition organised by Rolf de Maré led to the foundation of the National Dance Archives (Archives nationales de la danse). Kurt Joos was the winner of the inaugural prize with Green Table.
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[13]
He was the director of the Berlin National Opera Ballet and its school from 1930 to 1934.
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[14]
Mary Wigman, The Language of Dance. Wesleyan University Press, 1966.
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[15]
Johann Chapoutot, Greeks, Romans, Germans: How the Nazis Usurped Europe’s Classical Past, University of California Press, 2016.
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[16]
Serge Tchakhotin, The rape of the masses. The psychology of totalitarian political propaganda, Routledge, 2017 [1939].
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[17]
Siegfried Kracauer, Thomas Y. Levin, The Mass Ornament, Weimar Essays, 1995.
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[18]
Mentioned in Also sprach Zarathustra de Nietzsche (1885) cited in Laure Guilbert, Danser avec le IIIe Reich, Les danseurs modernes sous le nazisme, Complexe, 2000, p. 333.
Dance historian, Laure Gilbert, explores the ambiguous force of the choreographed ceremonies held during the 1936 Olympic Games. In the giddying spaces of the stadia, artists composed choral dances involving thousands of participants. These dances were a crytallisation of the rhythmic techniques and aesthetic ideals of the Ausdrucktanz, but they also implacably reflected the corporal dogmas of the fascist regime.
Historienne de la danse, Laure Guilbert explore le pouvoir ambigu des célébrations chorégraphiques durant les Jeux Olympiques de 1936. Dans l’espace vertigineux des stades, les artistes ont composé des danses chorales qui rassemblent des milliers de participants. Si ces œuvres cristallisent les techniques rythmiques et l’idéal esthétique de l’Ausdrucktanz, elles font aussi implacablement écho à la doctrine corporelle du régime fasciste.
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