This book explores the complex relationship between literature and
dance in the era of modernism. During this period an unprecedented
dialogue between the two art forms took place, based on a common
aesthetics initiated by contemporary discussions of the body and
gender, language, formal experimentation, primitivism,
anthropology, and modern technologies such as photography, film,
and mechanisation. The book traces the origins of this relationship
to the philosophical antecedents of modernism in the nineteenth
century and examines experimentation in both art forms. The book
investigates dance's impact on the modernists' critique of language
and shows the importance to writers of choreographic innovations by
dancers of the fin de siecle, of the Ballets Russes, and of
European and American experimentalists in non-balletic forms of
modern dance. A reciprocal relationship occurs with choreographic
use of literary text. Dance and literature meet at this time at the
site of formal experiments in narrative, drama, and poetics, and
their relationship contributes to common aesthetic modes such as
symbolism, primitivism, expressionism, and constructivism.
Focussing on the first half of the twentieth century, the book
locates these transactions in a transatlantic field, giving weight
to both European and American contexts and illustrating the
importance of dance as a conduit of modernist preoccupations in
Europe and the US through patterns of influence and exchange.
Chapters explore the close interrelationships of writers and
choreographers of this period including Mallarme, Nietzsche, Yeats,
Conrad, Woolf, Lawrence, Pound, Eliot, and Beckett, Fuller, Duncan,
Fokine, Nijinsky, Massine, Nijinska, Balanchine, Tudor, Laban,
Wigman, Graham, and Humphrey, and recover radical experiments by
neglected writers and choreographers from David Garnett and Esther
Forbes to Andree Howard and Oskar Schlemmer.
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