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An American Perspective on Tanztheater Author(S): Susan Allene Manning Source: the Drama Review: TDR, Vol An American Perspective on Tanztheater Author(s): Susan Allene Manning Source: The Drama Review: TDR, Vol. 30, No. 2 (Summer, 1986), pp. 57-79 Published by: The MIT Press Stable URL: http://www.jstor.org/stable/1145727 . Accessed: 24/08/2011 16:49 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. The MIT Press is collaborating with JSTOR to digitize, preserve and extend access to The Drama Review: TDR. http://www.jstor.org An American Perspective on Tanztheater Susan Allene Manning At a symposium of German and American modern dance held last fall at Goethe House New York, Anna Kisselgoff, chief dance critic for The New York Times, turned to Reinhild Hoffmann, director of the Tanz- theater Bremen, and asked in exasperation, "But why aren't you more interested in dance vocabularies?" Hoffmann did not answer but instead turned to Nina Wiener, a New York choreographer, and asked, "But why aren't you more interested in the social problems seen in a city like New York?" Weiner did not answer. This incomplete exchange-two questions that received no answers- summarizes the divergence between German and American modern dance today. While American choreographers generally emphasize the in- herent expressivity of pure movement and consider narrative or represen- tational subject matter beside the point, new German choreographers re- verse these priorities and consider subject matter far more important than the formal display of movement values. In other words, the new German choreographers are no more interested in exploring "dance vocabularies" than their American counterparts are in engaging "social problems." With few exceptions, critics follow the inclinations of their national choreographers. Hence the New York critics by and large dismissed the tanztheater (literally "dance theater") featured as part of the Brooklyn Academy of Music's Next Wave Festival last fall. The same critics who praised American postmodern choreographers for challenging received definitions of "dance" criticized Pina Bausch, Reinhild Hoffmann, and Mechthild Grossmann because their works were not "dance." And even though critics conceded that the works of Susanne Linke exhibit dance interest, they still criticized her solos' overt content. (Gerhard Bohner, whose Triadic Ballet, 1977, received its American premiere at the Joyce Theater, generally escaped the critical polemics that embroiled his female colleagues, perhaps because his work was not burdened with the "Next Wave" label.) The German critics are no less chauvinistic than the Americans. They too defend their own modern dance tradition by criticizing the dominant style on the other side of the Atlantic. Jochen Schmidt, dance critic for the FrankfurterAllgemeine Zeitung and a participant in the Goethe House symposium, once compared the "depth" of tanztheater with the "light- ness" of American postmodern dance and concluded that "the American art of lightness [may] all too quickly [become] an art of insignificance" (1982:13). 57 1. Hans Pop andJosephine Ann Endicottin Bausch's The Seven Deadly Sins (1976): "role-playingas self-consciouslytheatrical." (Photo by Gert Weigelt) ....... -i~i::ii7771 77?.--- Although Germanand Americanmodern dance have always defined independenttraditions, the divergencebetween the two traditionshas not always been as great as it is today. Although choreographerslike Isadora Duncan, Mary Wigman, KurtJooss, and MarthaGraham developed dis- tinctly differentstyles of modern dance, they were unitedin their refusal to separatethe formal values of movement from the social import of dance. In fact, modern dance originatedin Germanyand Americafrom the double impulse to not only establishmovement as a self-sufficient meansfor expressionbut also to subvertand perhapstransform dominant social values. At first modern dancersconnected the formal and social impulses in utopian terms. They believed that the experienceof dance could free energieswithin the individualand within society, energiesthat could lead from personalto culturalrenewal. Modern dancers later turned away from such utopianvisions and staged their social critiquethrough sympatheticallyportraying marginal social types or enacting agitprop parables.They believed that dance should confrontthe viewer with as- pects of sociallife demandingreform. But whetherutopian or confronta- tional, moderndance in Germanyand Americatook its social mission as seriouslyas its formalmission. After WorldWar II moderndance lost this senseof its dualmission, for clear socio-politicalreasons. After 1933 National Socialismappropriated An AmericanPerspective 59 ausdruckstanz,(literally "dance of expression"), as modern dance was known in the '20s, and made it serve ideologicalends, as in the opening- night spectaclefor the 1936 Berlin Olympic Games staged by Wigman, Gret Palucca,Harald Kreutzberg, and others. After the war ausdrucks- tanz never regainedits earlierstature, in part becauseof its Fascistideo- logical taint. To Germansit seemed unsuitedto the new era of postwar recovery,an era that preferredthe supposedlyuntainted classicism of bal- let. Yet, in actuality,the Nazis had promotedballet as requisitetraining for professionaldancers and an appropriatepublic diversion.Even so, as West Germancities vied to found balletcompanies of internationalstature during the '5os and early '6os, they built on the foundationlaid by Na- tional Socialism.Ironically enough, balletat the time seemed a refuge of internationalism,classicism, and formalism. While West Germandance took refuge in ballet duringthe early post- war years, Americandance adopted an increasinglyformalist credo. Bal- let choreographersfollowed the exampleof GeorgeBalanchine, and mod- ern dancers that of Merce Cunningham, as both idioms enjoyed the securityof America'snewfound culturaland politicaldominance. Chore- ographersno longer struggledto fuse formal values with social import. Ratherthey gloried in technicalvirtuosity and formal experimentation and play. Americancritics responded by orientingtheir writing more to- ward descriptionand less toward interpretation. Beginning in the late '6os, stimulatedby the youth upheavalsof the 1968 period, young Germanchoreographers reacted against the formal- ism of Germanballet and of Americandance. In fact, they associatedthe ballet boom with the postwar era's relentlessAmericanization, and they wanted to breakits hold if only for that reason. So they reachedback to the traditionsof ausdruckstanzand intermingledinfluences drawn from 2. Unresolvedimages of experimentaltheater and, surprisingly,from Americanmodern dance. In- gender in Bausch's deed, tanztheatershows the simultaneousrejection and integrationof Bluebeard (1977). (Photo by Gert Weigelt) s; ~P ~~x i?aiiiii-_i-i:i ~n i? ii, ~?i:-:i~i-ii ii -,i :-B ~~f~g~F ~~?~ ~D=ki: i ~r~l~~a i:"-" '' :: 9~: ~ii?:-iiii:_ii-i;~i-i--?~.~::i:i-i-~-i:iiiiiL;-iiiiiiiii:iiii-i:i:iiii;i,"'- --::-'ii:--i-:-~::::::--ii~l~r::,-l:i~-'~-i-:- 2~8~.~ :::'~:: 1~::~:~~"'8~-i~~:-:~:::::::--:?:::::. 6o An AmericanPerspective Americaninfluences, a paradoxthat servesas an apt metaphorfor cultural relationsbetween West Germanyand the United Statesin the '8os. Perhapseven more surprisingis the paradoxicalrelationship between tanztheaterand Germanballet. Whiletanztheater choreographers explicit- ly negate the principlesof classicaland neoclassicalballet, they generally work with ballet-traineddancers in companieswithin the municipalrep- ertory system. Becausetanztheater choreographers are dependenton the repertorysystem's patronage, they must acceptits orientationtoward bal- let. They both resentthis orientationand exploit the valuesof theirdanc- ers' daily discipline. 3. Bausch'sBluebeard (1977): "Bauschshows men and women lockedinto power plays and obsessive patternsof physical and emotionalviolence." (Photo by Gert Weigelt) ~iiii-i: iiiiiiir:ii -i::i" ii~~i'~g~?_i::~~~iiii:':;iiii :: ::h::::::: i iiipi~iii:~k-t ii: :i~-::: iii~-:RJ::ii ::::,: i 4. In Bausch'sGebirge (1984),Josephine Ann Endicottrepeatedly lies down beforeJan Minarik andpulls up her shirt so he can slash a redX on her bare back. (Photo by Gert Weigelt) .. An AmericanPerspective 61 : -..:::i:,::::::::::::??:?,:;-::::_ :,li-jei-W iaij -i--~iji _ iOttie,- ,A: Alli~i~'r::::- 5. Bausch'sKontakthof (1978): "womenin old- Pina Bausch has evolved the most distinctive and the most internation- fashionedformals and high form of tanztheater. the Tanztheater ally-known Directing Wuppertal heels becomesex objectsand since she has evolved a 1973, large-scale, improvisational performance sexual victims." (Photo by mode that transcended its sources in her with long ago specific training Gert Weigelt) Kurt Jooss at the Folkwang School (I955-59) and her studies at Juilliard in New York (1960-61). Like her contemporaries in theater, Bausch com- bines a visually rich production style with techniques drawn from Stani- slavski and Brecht, and the result approaches Artaud's idea of a theater of cruelty. Her performers employ Method principles, infusing their interac- tions with the intensity and pain of remembered experience. At the
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