Austrian films - Naima Prevots

Austrian Dance on Screen

“Beyond the Waltz”
Austrodance Fetival 2006
Embassy of Austria
Washington, D.C.
November 2, 2006

by Naima Prevots
copyright 2006 by Naima Prevots

This evening of films consisted of historic material and a documentary made in 2004: Dance on the Spot. Presided over by George Jackson, who developed and produced the Austrodance Festival, the films were followed by a panel of Austrian and Washington participants. It was fascinating to see the work of legendary dance pioneers from the early part of the twentieth century: Grete Wiesenthal, Rosalia Chladek, and Gertrud Bodenwieser. Recent choreographic endeavors and artists were featured in the more current film, and we got a sense of the vibrant dance scene that currently exists in Austria.

The first film excerpts were of material from 1888 and still in repertory: Josef Hassreiter’s pantomimic ballet Die Puppenfee (The Fairly Doll). The film was from the 1983/84 season, and showed Jolantha Seyfried in the ballerina role, and Bernd R. Bienert as the Poet (a rag doll). Very little has been written about the early contributions of Austrian artists to modern dance, and it was particularly interesting to see their work. Grete Wiesenthal, one of the three Wiesenthal sisters, was a well known dancer in the early twentieth century, and we had the opportunity to see one of her waltz choreographies as performed in the mid 1980s by Susanne Kirnbauer. Rosalie Chladek had a flourishing career in Austria through her work as performer, choreographer, teacher, and we saw her perform one of her solos from the 1920s.

The last of the historic dance material was an excerpt from Gertrude Bodenwieser’s Demon Machine, from 1924. This particular artist went to Australia to escape from the Nazi invasion, and went on to create a significant legacy. Several individuals have written about her contributions to dance development in that country, and the film excerpt was most illuminating. The machine image was frequently found in dances of the 1920s and 30s, and Bodenwieser’s group work gives us insight into her use of this theme and her particular movement vocabulary.

The video created in 2004, Dance on the Spot, focused on choreographers, institutions, and festivals in Austria today. Only one of the choreographers in the video will be seen in Washington: Willie Dorner, with his company (on November 6, and 8). We saw excerpts from the work of other artists, among them: Elio Gervasi, Saskia Hoelbing, Barbara Kraus, Phillip Gehmacher, Pilottanz Group, Chris Haring. There were also interviews with individuals active in the dance and arts scene: Sigrid Gareis, director of the Tanzquartier Wien; Ismael Ivo, choreographer; Karl Regensburger, director of Impulstanz Festival, and Andrea Amort, critic.

George Jackson ended the evening with a panel, consisting of two Austrians and three Americans. The Austrian panelists were Andrea Amort, a critic and historian who appeared in the video; and Bernd R. Bienert, whose company appeared on November 3 as part of this Festival, and who was a performer in one of the historic film excerpts. Two of the American panelists had their work shown as part of the Austrian dance festival: Nejla Yatkin, who performed November 1; and Dana Tai Soon Burgess, who presented an evening of his work on November 7. Rita Felciano, the other American panelist, is a San Francisco based dance critic.

Jackson moderated the panel and opened with a question: “Where is dance going?” Each participant chose a different focus for their discussion, and many ideas were introduced. Some of these had to do with the differences in American and European dance today; risk taking and experimentation in the two countries; developments in the last two decades; the influence of World War II; teaching and training; European exchange and identification. The audience participated in a lively exchange, and had a chance to continue exchanging ideas during the reception following the panel. Both before and after the films and panel at the Embassy of Austria, it was valuable to see the photographic exhibit on contemporary dance by Laurent Ziegler. These consist of black and white photographs of companies and individuals in Montreal, Los Angeles, Seattle, Tokyo, Taipei, and Vienna.

We talk a great deal of globalization, and yet we don’t have enough opportunities to see the work of artists and companies from other countries. In terms of Austrian dance, we have not had enough exposure regarding their important contributions to our contemporary dance history. It was valuable to see the film and video excerpts, and have a chance to share with the panel. My only wish is that we had been given more historical information about Wiesenthal, Chladek and Bodenwieser, and that the 2004 video would have provided fewer clips and more sustained viewing. I would have liked to see longer sections of work, with perhaps more in depth analysis. But the evening overall was most worthwhile, and Jackson is to be applauded for his enormous efforts in bringing Austrodance Festival 2006 to Washington.

Festival: Beyond the Waltz: Austrodance 2006

The Festival “Beyond the Waltz” was organized by the Austrian Cultural Forum at the Embassy of Austria, Washington, D.C. Support came from the Austrian Mininstry for Foreign Affairs, Austrian Airlines, Erste Bank, Bohler Uddeholm and Frequentis. The venue was supported by American University. The performance of the Cie. Willi Dorner was supported by the Cultural Office of the City of Vienna and the Austrian Federal Chancelleery: Arts Division. The Festival occurred during the time period October 31-November 8, 2006, and was curated by Andrea Amort; Margaret Ploder, Director of the Austrian Cultural Forum; and George Jackson, Dance Critic and Historian.

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Austrian Dance on Screen