A videotape showing Kurt Jooss and Isa Partsch-Bergsohn in conversation is available with this book.
The United States took the lead in modern dance innovation during the 1960s when artists such as Martha Graham, Josea Limoan, Paul Taylor, Alvin Ailey and Alwin Nikolais overwhelmed European audiences. Subsequently, the "New German Tanztheatre" revitalized German theatre traditions with its new content and application of some of the United States modern dance techniques. This book discusses both parallels and distinctions between the history of modern dance in the United States and Germany.
Examining the problems encountered by the artist in a particular social-cultural context, Isa Partsch-Bergsohn follows the closely related and yet distinctive histories of modern dance in Germany and the United States between 1920 and 1968. She analyses the initial movement in Europe with the philosophies of Dalcroze, Laban, Wigman and Jooss, the effects of the "Third Reich" on the artists, the sub

The United States took the lead in modern dance innovation during the 1960s when artists such as Martha Graham, Josse Limbon, Paul Taylor, Alvin Aeiley and Alwin Nikolais overwhelmed European audiences. Subsequently, the New German Tanztheatre revitalized German theatre traditions with its new content and application of some of the United States modern dance techniques. This book discusses both parallels and distinctions between the history of modern dance in the United States and Germany. This work examines the phenomena of the modern dance movement between 1920 and 1968 in an international context, focusing on its beginnings in Europe and its philosophy as formulated by Dalcroze, Laban, Wigman, and Jooss. The book traces the effects of the Third Reich on these artists as well as their influence on the developing American modern dance movement through the postwar years, with a particular focus on Kurt Jooss and the Tanztheatre.