Mary Wigman

bloody shame Wigman Witch Dance Word Count 1120 by means of her decrease and breaking d aver of agency and esthetical jump, Mary Wigman stands as ace of the most inspirational symbols of 20th century dance. Her unique use of theatrical elements such as masks, sound, costume and execution created an evolution of dance that was neer seen before. Her use of the character, The Witch, changed the worlds views on dance forever, and inspired a transition of artistic spirit all around Europe.In this essay I will discuss whether or not The Witch in Wigmans lock stands as an interpretation of her role in society, and her aspirations for future dance forms. Mary Wigmans Witch Dance epitomized the breaking away from conventional concepts and traditions. Through her modernistic choreography she captured the true essence of dance. There was no contour or theatricality to it. Instead, she used elements that would speak directly to the audience (Muller, 1986, pp. 173-184). The rude im age of the hagfish expressed the elements of Wigmans own identity.She expresses her modernistic identity in her breaking away of the affectionate and cultural boundaries that besieged her judgment of conviction error. She also physically identifies herself as a magnetise, absorbing the viewer with the supernatural essence of her imagination. Through her private roads she was able to personify this strong presence of the witch (Gunhild, 1992, pp. 35-49). She stressed the common association of the image of a witch with that of idolise and apprehension of losing control over both body and mind.This fear was created to be extended to the audiences watching the piece (Chritiane & Finnan, 2006, pp. 76-84). One of Wigmans most praised techniques in dance was her use of breathing. She believed that a dancers expression could be built to a climax simply by means of the pace and tone of their breathing. Through inspiration and exhalation the dancers were able to create both tension and tranquility. In increment to this her dance techniques were also highly revolutionary.Wigman did not believe that dance should be performed merely for entertainment purposes (Chritiane & Finnan, 2006, pp. 76-84). She diverged herself from the conventional practices of dance, such as ballet, and formed her own unique dance language that stripped away the aesthetic effort that was generally accepted at the time. The movement which she used in her pieces was open-ended and she made use of percussion instead of traditionally orchestrated aesthetic music (Muller, 1986, pp. 173-184).This made the audience focus more on the properties of the dance itself then the external features of it. Wigmans dances hypnotized the viewer with its powerful tho highly abstract choreography. Her use of repetitive gestures in her choreography helped to compartmentalise their cultural roles. She broke away from conventions by pulling away from the aesthetics of ballet. She did this by avoiding foll owing fixed choreography, dancing barefoot and using outlandish music and percussion (Gunhild, 1992, pp. 35-49).The cultural context in which Mary Wigmans lived was a very restricted and conservative society. Wigman grew up in Germany during the Weimer republic. This was a time of extreme change in Germany. Ausdruckstanz had been ubiquitous in Germany from the jut of the 20th century, and there was a definite cultural and social revolution taking place. Along with this was the reign of feminism taking place worldwide. These ideologies and social changes showed up significantly in Wigmans choreography. onward Wigman, dance was primarily based on sexuality (Jiyun, 2007, pp. 27-437). Exoticism was instrumental in the audiences allurement to it. Wigman broke away from these ideals by performing characters which held modernistic significance (Muller, 1986, pp. 173-184). Before Wigman, women were often portrayed in dance as modest and guileless characters. Wigman changed this view by primarily using female dancers and depicting females as strong and powerful beings. Wigmans performances challenged the static social dynamics of the time. She created an aviation of respect in the midst of the female dancers and herself.She allowed for a strong female undefended in her pieces that provided females, who were previously oppressed, with a firm identity and place in society. Previously, male choreographers had objectified woman in their choreography. Wigman aimed at individualizing women and breaking away from the swinish image that they previously conformed to (Valerie & Lahusen, 1990, pp. 8-10). Wigmans choice of using the witch work in her choreography was partly influenced by her attempt to emphasize the grow of dance and highlight feminist ideals.Through her dances she strove to elevate her art to a young culture and change her own identity to that of a goddess. The witch figure stood as a solution to the concept of Ausdruckstanz (Valerie, 1998, pp. 298-30 4). This concept introduced a confliction between the desire to have their dance accepted by society moreover maintain a strong level of originality at the same time. Wigmans dance focused primarily on raw and natural movement to truly capture the fresh expressiveness of her work.Through her work she hoped to portray a tender vision of life. She wanted her work to be characterized by its dark and fair masculine nature. She explored the different ways in which the body could express itself (Valerie & Lahusen, 1990, pp. 8-10). She assay to use freedom of movement in expressing her sensuality and accepted that extemporisation was the first step toward composition. The important thing about Wigmans choreography was that even those who misunderstood it were inspired by the energy of her performances.The audience seldom failed to recognize the energy and life in Wigmans choreography (Gunhild, 1992, pp. 35-49). The witch in Wigmans choreography represented the overcoming of human mort ality and deficiencies through her naked religion of dance. The dances were not sets of beautifully displayed images, provided were created through disfigured movement that held no consideration for the viewers enjoyment. She ripped the space apart through her dance and engaged in the emptiness and diversity of the space.In conclusion, Wigman played a truly inspirational role in the modernization of dance in the 20th century. It would seem that Kolbs statement regarding the feminist and demonic quality would be true with regards to the time error that she found herself in. The Witch not only represented woman as a powerful figure, but it highlighted the abstract quality of her dance. Wigman changed the face of dance forever through her respective(a) and unconventional ways of thinking. The way she broke away from conformist ideals tranquil serves as inspiration to the dance we have today. Works Cited