{{short description|Theatrical genre}} {{More citations needed|date=February 2024}} {{Use dmy dates|date=February 2024}} The [[Germany|German]] '''Tanztheater''' ("dance theatre") grew out of German [[Expressionist dance]] in [[Weimar Germany]] and 1920s [[Vienna]], and experienced a resurgence in the 1970s.
== History == The term first appears around 1927 to identify a particular style of dance emerging from within the new forms of 'expressionist dance' developing in Central Europe since 1917. Its main exponents include [[Mary Wigman]], [[Kurt Jooss]] and [[Rudolf Laban]]. The term reappears in critical reviews in the 1980s to identify the work of primarily German choreographers who were students of Jooss (such as [[Pina Bausch]] and [[Reinhild Hoffmann]]) and Wigman ([[Susanne Linke]]), along with the Austrian [[Johann Kresnik]]. The development of the form and its concepts was influenced by [[Bertolt Brecht]] and [[Max Reinhardt]], and the cultural ferment of the Weimar Republic.
[[Tanztheater Wuppertal Pina Bausch]] became internationally known. Bausch's dramaturge, [[Raimund Hoghe]], created independent productions from 1989.
== Form == Tanztheater developed out of German expressionist dance, known as [[Ausdruckstanz]]. As the Nazi regime diminished artistic vigor in Germany, Ausdruckstanz fell dormant. Both Birringer (1986) and Schlicher (1987) argue that the particular artistic and historical context of post-war Germany informed the genesis of Tanztheater. In the post war years, Tanztheater became more than a mere ‘blend’ of dance and dramatic elements.<ref>{{Cite book |last=Noisette |first=Philippe |title=Talk About Contemporary Dance |date=2011 |publisher=Flammarion |isbn=9782080301703 |location=Paris |pages=18}}</ref> Tanztheater prioritized expression over form, viewing dance as a method of social engagement.<ref>{{Cite journal |last1=Manning |first1=Susan Allene |last2=Benson |first2=Melissa |date=Summer 1986 |title=Interrupted Continuities: Modern Dance in Germany |url=https://www.jstor.org/stable/1145725 |journal=The Drama Review |volume=30 |issue=2 |pages=30 |doi=10.2307/1145725|jstor=1145725 |url-access=subscription }}</ref>
== References == {{reflist}}
==Further reading==
* {{cite book |first=Johannes H. |last=Birringer | title=Theatre, theory, postmodernism |date=1991 |publisher=Indiana University Press | publication-place=Bloomington | isbn=0-253-31195-0 | oclc=22860336 | ref={{sfnref | Theatre, theory, postmodernism}}}} * {{cite journal | last=Hoghe | first=Raimund |author-link=Raimund Hoghe | others=Stephen Tree | title=The Theatre of Pina Bausch | journal=The Drama Review | publisher=JSTOR | volume=24 | issue=1 | year=1980 | issn=0012-5962 | doi=10.2307/1145296 | pages=63–74| jstor=1145296 }} *Klein, Gabriele 2020. ''Pina Bausch's Dance Theater: Company, Artistic Practices and Reception''. transcript: Bielefeld, {{ISBN|978-3-8376-5055-6}}. * Markard, Anna 1985. Jooss. Cologne: Ballet Bühnen Verlag. * Preston-Dunlop Valerie & Sánchez-Colberg, Ana 2002. ''Dance and the Performative''. London: Verve. * [[Ana Sanchez-Colberg]] (1992) ''Traditions and Contradictions: A Choreological Documentation of Tanztheater from its Roots in Ausdruckstanz to Present''. London: Laban Centre. * Sánchez-Colberg, Ana 1992. ''You can see it like this or like that''. In Jordan, S and Allen, D.(eds) Parallel Lines. London: Arts Council. * Sánchez-Colberg, Ana 1993. ''You put your left foot in…then you shake it all about… Excursions and Incursions into Feminism and Bausch’s Tanztheater.'' In Thomas, Helen (ed.). Dance, Culture and Gender London: Routledge, 151–163. * Sánchez-Colberg, Ana 1996. ''Altered States And Subliminal Places: Charting The Road Towards A Physical Theatre.'' * Schlicher, Susanne 1987. ''Tanztheater Traditionen und Freiheiten''. Hamburg: Reinbeck Verlag.
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[[Category:Expressionist theatre]] [[Category:Musical theatre]]
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