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DANCE AND MOVEMENT IN THE CABARET

DANCE AND MOVEMENT IN THE CABARET At the turn of the twentieth century, movement and immobility were cen- tral concerns to performers and directors devoted to revolutionizing theater. Proponents of Realism and Naturalism used movement as the main method to express the inner psychology of the character. However, the expanse of the traditional stage, which could in most cases replicate the actual depicted space, was not suited to the small, cramped stages of the variety theater, and the broad acting style needed to reach the audience in the last rows of a large house looked oddly out of place in a small cellar with a low ceiling. (figs. 1- 4) Therefore, the physical and psychological limitations of the cabaret dic- tated not only the repertoire,, but also the style and content of performance on the small stage. Cable represents a reevaluation of traditional models for theatrical, literary and artistic behavior. The actors, writers, and artists of this period drew upon the work of folklorists and the resurrected texts and motifs of pre-Petrine Russia, hoping to create a national theatrical style with interna- tional appeal based on the model of Ballets Russes (figs.5 and 6), or more of- ten, the Western models of theater variete. http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Experiment Brill

DANCE AND MOVEMENT IN THE CABARET

KONECNY, MARK
Experiment , Volume 10 (1): 14 – Jan 1, 2004
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Publisher
Brill
Copyright
Copyright © Koninklijke Brill NV, Leiden, The Netherlands
ISSN
1084-4945
eISSN
2211-730X
DOI
10.1163/2211730X04X00109
Publisher site
See Article on Publisher Site

Abstract

At the turn of the twentieth century, movement and immobility were cen- tral concerns to performers and directors devoted to revolutionizing theater. Proponents of Realism and Naturalism used movement as the main method to express the inner psychology of the character. However, the expanse of the traditional stage, which could in most cases replicate the actual depicted space, was not suited to the small, cramped stages of the variety theater, and the broad acting style needed to reach the audience in the last rows of a large house looked oddly out of place in a small cellar with a low ceiling. (figs. 1- 4) Therefore, the physical and psychological limitations of the cabaret dic- tated not only the repertoire,, but also the style and content of performance on the small stage. Cable represents a reevaluation of traditional models for theatrical, literary and artistic behavior. The actors, writers, and artists of this period drew upon the work of folklorists and the resurrected texts and motifs of pre-Petrine Russia, hoping to create a national theatrical style with interna- tional appeal based on the model of Ballets Russes (figs.5 and 6), or more of- ten, the Western models of theater variete.

Journal

Experiment – Brill

Published: Jan 1, 2004

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