Von Serenata zum Totentanz (From Serenade to the Dance of death)

Von Serenata zum Totentanz (From Serenade to the Dance of death)

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

Wednesday, 08. November 2017 // 7.30 – ca. 9.45 p.m.
Thursday, 09. November 2017 // 7.30 – ca. 9.45 p.m.
From 14 years
Theater der Jungen Welt
24,00 € (erm. 19,00 €)

    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.

    1. Serenata (Serenade)

    Choreography: Gret Palucca (1932)

    Music: Isaac Albéniz

    Palucca Hochschule für Tanz Dresden (3 dancers)

    2. Palucca-Improvisationen (Palluca-Improvisations)

    Conception and presentation: Prof. Jason Beechey

    Palucca Hochschule für Tanz Dresden (7 dancers)

    World premiere

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

    A TANZFONDS ERBE project

    Choreography: Marianne Vogelsang (1935 / 1971-73)

    Dancer: Nils Freyer

    Pianist: Ulrike Buschendorf


    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)

    Musik: Boris Bell

    based on motifs by Mary Wigman (1914 / 1926)

    Palucca Hochschule für Tanz Dresden (1 dancer)

    6. Totentanz II (Dance of death II)

    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.

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

    Uraufführung: 03.10.1932, Stadttheater Görlitz
    Premiere der Rekonstruktion (Prof. Hanne Wandtke): 08.01.2002, Staatsschauspiel Dresden

    »Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach«:
    Uraufführung: 1935, Berlin / 1971–73, Dresden
    Premiere der Rekonstruktion (Manfred Schnelle): 30.09.2016, Societaetstheater Dresden

    »Totentanz I«:
    Uraufführung: 18.06.1917, Pfauentheater, Zürich / 14.01.1921, Dresden
    Premiere der Rekonstruktion (Henrietta Horn): 11.02.2017, Theater am Domhof, Osnabrück

    Uraufführung: 1914, München / 1926, Dresden
    Premiere der Neufassung (Prof. Holger Bey): 2006, Festspielhaus Hellerau, Dresden

    »Totentanz II«:
    Uraufführung: Februar 1926, Königsberg
    Premiere der Rekonstruktion (Henrietta Horn): 11.02.2017, Theater am Domhof, Osnabrück

    Das Gastspiel »Fünf Präludien aus dem Wohltemperierten Klavier von J. S. Bach« in Leipzig erfolgt mit freundlicher Unterstützung durch TANZFONDS ERBE – eine Initiative der Kulturstiftung des Bundes.

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

    Introduction Part II:

    Dr. Patricia Stöckemann, Theater Osnabrück

    Archive 2017

    27th festival