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Modern dance is a broad genre of western concert or theatrical dance (as opposed to participation dance), primarily arising out of Germany and the United States in the late 19th and early 20th centuries. The oversimplification of modern dance's history often leads to the erroneous explanation that the art form emerged merely as a rejection of, or rebellion against classical ballet. An in-depth analysis of the context of the emergence of modern dance reveals that as early as the 1880s, a range of socioeconomic changes in both the United States and Europe was initiating tremendous shifts in the dance world. In America, increasing industrialization, the rise of a middle class (which had more disposable income and free time), and the decline of Victorian social strictures led to, among other changes, a new interest in health and physical fitness. "It was in this atmosphere that a 'new dance' was emerging as much from a rejection of social structures as from a dissatisfaction with ballet." During that same period, "the champions of physical education helped to prepare the way for modern dance, and gymnastic exercises served as technical starting points for young women who longed to dance"—and women's colleges were already offering "aesthetic dance" courses by the end of the 1880s Concurrently, dance artists such as Isadora Duncan, Maud Allen, and Loie Fuller were pioneering new forms and practices in what is now called aesthetic or free dance for performance. These dancers disregarded ballet's strict movement vocabulary, the particular, limited set of movements that were considered proper to ballet, and stopped wearing corsets and pointe shoes in the search for greater freedom of movement. Emil Rath, who wrote at length about this emerging artform at the time stated, "Music and rhythmic bodily movement are twin sisters of art, as they have come into existence simultaneously...today we see in the artistic work of Isadora Duncan, Maud Allen, and others the use of a form of dancing which strives to portray in movements what the music master expresses in his compositions—interpretative dancing." American modern dance can be divided (roughly) into three periods or eras: From roughly 1914 forward, sociopolitical concerns added fuel to the continued development of modernist dance in the United States and Germany. The First and Second World Wars, the rise of fascism, the Great Depression (in the US), and the evolution of other artforms each informed modern dance along the way. Moving into the 1960s, new ideas about dance began to emerge, again in large part as a response to both earlier dance forms as much as to social changes. Eventually, postmodern dance artists would reject the formalism of modern dance, and include elements such as performance art, contact improvisation, release-technique, and improvisation. The discussion that follows is by no means an exhaustive list of modern dance artists in either the United States or Germany. As will become clear below, modern dance has evolved with each subsequent generation of participating artists. Artistic content has morphed and shifted from one choreographer to another, and so too have styles and techniques. Artists such as Martha Graham and Lester Horton developed techniques in the Central Modern Period that are still taught worldwide, and numerous other types of modern dance exist today—many of which are associated with renowned schools and master teachers. ==Free dance== (詳細はIsadora Duncan was a predecessor of modern dance with her stress on the center or torso, bare feet, loose hair, free-flowing costumes, and incorporation of humor into emotional expression. She was inspired by classical Greek arts, folk dances, social dances, nature, natural forces, and new American athleticism such as skipping, running, jumping, leaping, and abrupt movements. She thought that ballet was ugly and meaningless gymnastics. Although she returned to the United States at various points in her life, her work was not very well received there. She returned to Europe and died in Paris in 1927. *1891: Loie Fuller (a burlesque skirt dancer) began experimenting with the effect that gas lighting had on her silk costumes. Fuller developed a form of natural movement and improvisation techniques that were used in conjunction with her revolutionary lighting equipment and translucent silk costumes. She patented her apparatus and methods of stage lighting that included the use of coloured gels and burning chemicals for luminescence, and also patented her voluminous silk stage costumes. *1905: Ruth St. Denis, influenced by the actress Sarah Bernhardt and Japanese dancer Sada Yacco, developed her ''translations'' of Indian culture and mythology. Her performances quickly became popular and she toured extensively while researching Oriental culture and arts. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Modern dance」の詳細全文を読む スポンサード リンク
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