27th Festival 2017


Main programme

Wednesday 08. Nov. // 7.30 – ca. 9.45 p.m.

From 14 years

Thursday 09. Nov. // 7.30 – ca. 9.45 p.m.

 

Theater der Jungen Welt

€ 24.00 (red. € 19.00)


»Von Serenata zum Totentanz«
(»From Serenade the the Dance of death«)
GERMANY


Reconstructions of historic dance pieces
by Gret Palucca, Marianne Vogelsang & Mary Wigman


 


»Serenata« (»Serenade«)

»Fünf Präludien aus dem Wohltemperierten
Klavier von J. S. Bach« (»Five preludes from
J.S. Bach’s Well-Tempered Clavier«)
 

»Totentanz I« (»Dance of Death I«)

»Hexentanz« (»Witches’ dance«)
 

Introduction: Prof. Jason Beechey, Palucca Hochschule für Tanz Dresden
and Prof. Dr. Ralf Stabel, Staatliche Ballettschule Berlin


1. »Serenata«
(»Serenade«)  VIDEO CLIP  

Choreography:

Gret Palucca (1932)

Music:

Isaac Albéniz

Palucca Hochschule für Tanz Dresden (3 dancers)


2. »Palucca-Improvisationen«
(»Palucca-Improvisations«)

Conception and presentation:

Prof. Jason Beechey

Palucca Hochschule für Tanz Dresden (7 dancers)

World première


3. »Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach«
(»Five preludes from J. S. Bach’s Well-Tempered Clavier«)   VIDEO CLIP  

A TANZFONDS ERBE project

Choreography:

Marianne Vogelsang (1935 / 1971-73)

Dance:

Nils Freyer

Piano:

Ulrike Buschendorf



BREAK


* * *


 

Introduction: Dr. Patricia Stöckemann, Theater Osnabrück


4. »Totentanz I«
(»Dance of death I«)

A TANZFONDS ERBE project

Choreography:

Mary Wigman (1917 / 1921)

Music:

Camille Saint-Saëns

Dance Company Theater Osnabrück (4 dancers)


5. »Hexentanz«
(»Witches’ dance«)

Choreography:

Prof. Holger Bey (2006)

Music:

Boris Bell

Based on motifs by Mary Wigman (1914 / 1926)

Palucca Hochschule für Tanz Dresden (1 dancer)


6. »Totentanz II«
(»Dance of Death II«) VIDEO CLIP  

A TANZFONDS ERBE project

Choreography:

Mary Wigman (1926)

Music:

Frank Lorenz (2017)

Dance Company Theater Osnabrück (8 dancers)



Following the both performances: audience discussion with Dr. Patricia Stöckemann, Prof. Jason Beechey and Prof. Dr. Ralf Stabel
Presentation: Dr. Martina Bako, theater scholar, Universität Leipzig


Recording of two choreographies – films in the fringe programme:

/ »Affectos humanos« (»Human passions«) by Dore Hoyer
 & »Der Grüne Tisch. Ein Totentanz in acht Bildern« (»The Green table. A dance of death in eight pictures«) by Kurt Jooss
 Thursday, 09. Nov.

/ »Mary Wigman – Die Seele des Tanzes« (»Mary Wigman – The soul of dance«)
 ARTE-film by Norbert Busè & Christof Debler
 Friday, 10. Nov.




This evening of reconstructions and short choreographies seeks to search for traces in dance history. The cross section shows the aesthetic diversity of German Ausdruckstanz on the basis of several works by famous female representatives of the time.

Gret Palucca (1902-93) was a student of Mary Wigman and one of the leading Ausdruckstanz dancers in Germany. In 1925, she founded her own school in Dresden that still exists today as the Palucca Hochschule für Tanz. She placed no value on preserving her own choreographies, so hardly any of her dance material exists. However, numerous writings have been preserved. Gret Palucca herself originally danced »Serenata« as a solo.

Marianne Vogelsang (1912-73) belongs to the most outstanding artist personalities of modernity. She studied under Gret Palucca in Dresden. In addition to her solo dance career, she also worked at theatres and taught. From 1971-73, she choreographed her last work »Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach« (»Five preludes from J. S. Bach’s Well-Tempered Clavier«) which she first danced herself and then passed on to her former student Manfred Schnelle. He died shortly before completing his transition of the choreography to the Berlin dancer Nils Freyer.

Mary Wigman (1886-1973) was a most famous pioneer and protagonist of German Ausdruckstanz. As a dancer, choreographer and dance pedagogue she made this genre well-known abroad. Her style is – in contrast to the lyrical flow found in Palucca, Vogelsang and Dore Hoyer – expressive and dramatic. In 1942-47, she lived and worked in Leipzig.

»Totentänze« (»Dances of death«) belong to her most famous choreographies; they make reference to the artistic tradition of danse macabre: »Totentanz I« (»Dance of death I») was choreographed as a dance grotesque. A number of years later, »Totentanz II« (»Dance of death II«) was created with animal-like masked figures – the painter Ludwig Kirchner attended the Dresden rehearsals, made sketches and painted the oil painting »Dance of death«, which was very important for the reconstruction.



Contact: www.palucca.eu / www.vogelsang-praeludien.de / www.theater-osnabrueck.de

»Serenata«:
 World première: 03.10.1932, Stadttheater Görlitz
 Première of the reconstruction: (Prof. Hanne Wandtke): 08.01.2002, Staatsschauspiel Dresden

»Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach«:
 World première: 1935, Berlin / 1971–73, Dresden
 Première of the reconstruction (Manfred Schnelle): 30.09.2016, Societaetstheater Dresden

»Totentanz I«:
 World première: 18.06.1917, Pfauentheater, Zürich / 14.01.1921, Dresden
 Première of the reconstruction (Henrietta Horn): 11.02.2017, Theater am Domhof, Osnabrück

»Hexentanz«:
 World première: 1914, Munich / 1926, Dresden
 Première of the new version (Prof. Holger Bey): 2006, Festspielhaus Hellerau, Dresden

»Totentanz II«:
 World première: Februar 1926, Königsberg
 Première of the reconstruction (Henrietta Horn): 11.02.2017, Theater am Domhof, Osnabrück


The guest play »Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach« in Leipzig is funded by TANZFONDS ERBE – an initiative of the German Federal Cultural Foundation.