The new spirit in drama and art (1912) (14594697727)

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Identifier: newspiritindram00cart (find matches)
Title: The new spirit in drama & art
Year: 1912 (1910s)
Authors: Carter, Huntly
Subjects: Theater Impressionism (Art)
Publisher: London : F. Palmer
Contributing Library: University of California Libraries
Digitizing Sponsor: Internet Archive

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tempt is made to unite modern standards of comfort andhygiene with artistic standards of refinement and proportion,prove, however, that German garden suburb planners havelittle to learn. In fact, they have some useful informationto impart. There is a great deal of natural music at Hellerau, and itis therefore appropriate that it should be made the centreof the new synthetic movement in dancing invented by M.Jaques-Dalcroze, a distinguished musical composer and per-former, formerly a professor at the Geneva Conservatoire,and now Director of the Rhythmic Gymnastic Institute atHellerau. As this dance movement promises to make itselfuniversally felt, the consideration of its meaning and signifi-cance, together with an examination of the Jaques-Dalcrozesystem of rhythmic gymnastics, will be of interest. In thefirst place, this dance movement is another sign that Europe isunder a rhythmic spell, that people are beginning to realisethe immense importance of rhythm in life, and that we are in
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as -* O > .-• b t: ^ 2 N 5 = §? ■^ o ^ W _! ~ THE NEW SPIRIT IN DRESDEN 121 at a renascence of dancing. Something unusual has happened ;and dancing, like the Sun-Goddess Amaterasu, has emergedfrom the cave of neglect, and promises to give the light ofher smile to the world once more. Much of late has servedto quicken this ancient form of art. There has been thegeneral classical revivals coming from Russia, as well as themany and varied exponents of Greek and Oriental dancing.Now we have the widening activity of the Dalcroze school.But the dancing of this school is not to be confused with thatof other schools. It has little in common with the rediscoveryof the forgotten dances of ancient Greece, or the incarnationof paganism in one form or the other. It has nothing to dowith the Isadora Duncan aim of the realisation of the move-ments of the forms and figures on ancient Greek vases. Andit is not to be compared with musical drill or calisthenics.It is, in fact, based on its own s

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