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Tanztheater und filmische Ästhetik. Cineastische Einflüsse und Gestaltungsweisen in den Kompositionen für die Ballets Suédois 1920–1925

The central role that avant-garde music and dance theatre played in the interplay and synthesis of the arts and media in the 1920s, particularly in Paris, is well known. However, the creative potential of ballet has hardly been recognized in its manifold relationships with film and cinematic-inspired expression. The extent to which especially ballet music interacted with the latest cinematographic principles and techniques and referred to cinematic aesthetics in a variety of ways can instructively be seen regarding the productions of the Ballets Suédois. This is discussed in this article with an exemplary look at Les Mariés de la Tour Eiffel (1921), Within the Quota (1923), Skating Rink (1922) and Relâche (1924). By that it becomes clear that the transmedia inclusion of cinematographic ideas not only inspired the vocabulary of avant-garde dance and modern choreography, but was also distinctively reflected in the conception and composition of film-affected music.

Identiferoai:union.ndltd.org:DRESDEN/oai:qucosa:de:qucosa:72577
Date29 October 2020
CreatorsKolb, Fabian
ContributorsMusikwissenschaftliches Seminar der Universität Paderborn und der Hochschule für Musik Detmold
Source SetsHochschulschriftenserver (HSSS) der SLUB Dresden
LanguageGerman
Detected LanguageEnglish
Typedoc-type:conferenceObject, info:eu-repo/semantics/conferenceObject, doc-type:Text
Rightsinfo:eu-repo/semantics/openAccess
Relation10.25366/2020.42, urn:nbn:de:bsz:14-qucosa2-725481, qucosa:72548

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