Paulina Milewska Kurt Jooss’ The Green Table Expressionism can be described as a movement in the fine arts that emphasized the expression of inner experience rather than realistic portrayal, looking to obtain not objective reality, but the subjective emotions and responses that objects and events arouse in the artist. Several characteristics of expressionism are distortion, exaggeration, primitivism, and fantasy. “The Green Table,” a ballet by Kurt Jooss, 1932, is an ideal example of expressionism
“The Green Table,” choreographed by Kurt Jooss and composed by Fritz A. Cohen, first premiered in Paris, France and won first place in the Paris choreographic competition held by the International Archives of the Dance in early July of 1932 (Martin 155). Kurt Jooss (1901—1979) was a German choreographer and dancer, as well as quite the visionary for his time. Fritz A. Cohen (1904-1967) was a German composer, who worked closely with Jooss to create this anti-war message-driven piece. The ballet “Der
expression. One of the most famous politically-driven dances was The Green Table choreographed by Kurt Jooss through his company Ballets Jooss in 1932. The background music was composed by Frederic Cohen. The Green Table was an anti-war dance choreographed in Germany, in a period between the great world wars. This paper will explore the choreographer’s point of view and the social or political message expressed in the Green Table dance, analyze the political message and Laban effort elements in the
Choreography with the body as site of the investigation and choreography without the body are, for me, interlinked. Even as the choreographer leads the creative process they can be affected by the uniqueness of the dancers they are working with in the same way that choreographer Rosemary Butcher is often affected whilst creating works. (Butcher, 1965) Through giving the dancers tasks where they have freedom to respond by creating movements their own way, by giving words or phrases to respond to and