Folio.  leaves in plastic sleeves. Modern full leatherette binder. Unique collection of 192 original silver gelatin prints documenting Mary Wigman's new choregraphy of Gluck's "Orpheus and Eurydice." The performance was staged at the Dreilinden opera house in Leipzig Lindenau, on March 22, 1947. The collection includes a pasted program of the event, 15 b/w original photographic portraits of Mary Wigman* (two large: 5 6/8 x 4 3/8, and 5 3/8 x 3 3/8", and 13 smaller: 3 3/8 x 2"), 9 silver gelatin prints showing the choregrapher amidst her dancers (2 x 3 3/8"), and two depicting German conductor Heinz Bongartz, with costume designer Gerda Schulte (4 1/2 x 3 2/8"). The remaining 166 photographs depict the path, development and flow of the opera from scene to scene. They feature Wigman's dancers, as well as the three main characters of the opera: baritone Theodor Horand (Orpheus), soprano Philine Fischer (Eurydice); and soprano Erna Roscher (Amor). The pictures measure app. 3 x 4 1/2", except the last one showing all the dancers (size: 9 2/8 x 6 7/8"). The silver gelatin prints are pasted on thin paper, mainly 6 per leaf (3 for each side). Modern binder is as new. Leaves age-toned, with minor and sporadic chipping along edges. Photographs in fine condition. * Mary Wigman, original name Marie Wiegmann (1886-1973), was a German dancer, and a pioneer of the expressionist dance (Ausdruckstanz) as developed in central Europe. A pupil of Émile Jaques-Dalcroze and Rudolf Laban, she subsequently formulated her own theories of movement, often dancing without music or to percussion only. Although she made her debut as a dancer in 1914, her triumphant career as dancer-innovator-choreographer began after World War I. Her impact on dance throughout central Europe changed the course of dance history. Her pupils, numbering thousands, included Harald Kreutzberg, Yvonne Georgi, Margarethe Wallmann, and Hanya Holm, the latter two exerting major influences on the development of American modern dance. She and her company toured the United States in 1930, and in 1931 a Wigman School was established in New York City under the direction of Holm, which, in 1936, became the Hanya Holm School. Wigman's works include The Seven Dances of Life (1918), Totenmal (1930), other operas, group works, and solos. During the Third Reich, the Nazi authorities, considered her to be a leftist and her dances to be decadent, and as a result, they took her Dresden school away from her, but allowed her to teach in Leipzig during World War II. The last work in which she appeared as a soloist was "The Dance of Niobe" (1942), in which she danced the title role. At the end of WWII, Wigman continued to work in Leipzig under Soviet occupation, where she choregraphed the entire opera Orpheus and Eurydice (1947) of Christoph Gluck. In 1949, she fled to West Berlin where she opened a school which became a meeting place for modern dance enthusiasts from all over the world well into the 1960s. Her last public appearance as a dancer was in 1953. During the 1950s she also worked as a guest choreographer. Her most important productions for German opera houses include Handel's "Saul" (Mannheim, 1954), Orff's "Carmina Burana" (Mannheim, 1955), and Stravinsky's "Sacre du Printemps" (Municipal Opera, Berlin Festival, 1957). Mary Wigman was a major influence on American modern dance, largely through the work of Hanya Holm and other disciples who kept alive, developed, and extended her concepts. Bookseller Inventory #
Title: Oper in "Dreilinden": Orpheus und Eurydike [...
Publication Date: 1947
Book Condition: g to vg
Edition: Original document.
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