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Mary Wigman

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description Mary Wigman Overview

Mary Wigman (1883-1973) was a German dancer and choreographer closely associated with Ausdruckstanz, or expressionist dance. As a leading figure in that movement, she helped establish approaches that gave psychological intensity and bodily expression greater weight than the conventions of classical ballet. Her choreography could be unsettling, using tension and forceful gesture to communicate inner states. Human suffering and darker emotional experiences recur in discussions of her work, though her repertoire cannot be reduced to a single theme of societal decay.

Non-narrative movement offered her a way to express ideas without a continuous story. Wigman remains important to professional dancers and theater practitioners examining the development of twentieth-century expressive performance. Her work provides a historical reference for choreography that treats the body as a source of emotional meaning.

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What was Mary Wigman's style of dance called?

She was a pioneer of "Ausdruckstanz," which translates to expressive dance, a style that prioritized intense emotional expression over strict classical technique. This movement was highly influential in Germany during the Weimar Republic era.

Where did Mary Wigman open her famous dance school?

She founded her highly influential dance school in Dresden, Germany, in 1920. The school attracted students from all over the world and served as the primary hub for her experimental choreography until the Nazi regime forced its closure.

What were the typical themes of Mary Wigman's choreography?

Her performances often explored dark, psychological states and utilized expressive props like masks to convey contrasting emotional forces. She frequently choreographed pieces exploring themes of war, death, and anxiety, most notably in her "Dance of Death" works.

Did Mary Wigman leave Germany during the Nazi regime?

Unlike many of her avant-garde contemporaries, Wigman chose to remain in Germany during the 1930s and 1940s, navigating the era's complex politics. Her work was eventually banned by the regime in 1942 as degenerate art.