|
Valeska Gert (11 January 1892 – circa 16 March 1978) was a German Jewish dancer and cabaret artist. She was also active as an actress and artists' model. ==Life and career== Valeska Gert could be considered one of Germany’s most ambiguous and overlooked artists. She was a dancer, actress, film and cabaret star. She was a pioneering performance artist who is said to have laid the foundations and paved the way for the punk movement. Gert was born as Gertrud Valesca Samosch in Berlin to a Jewish family. She was the eldest daughter of manufacturer Theodor Samosch and Augusta Rosenthal.〔(Untitled review ) in ''Dance Research Journal'', vol. 18, no. 2, Winter 1986/87, pp. 70–73. Reviewed works: ''Valeska Gert: Tänzerin, Schauspielerin, Kabarettistin'' by Frank-Manuel Peter; ''Anita Berber: Tanz zwischen Rausch und Tod, 1918–1928 in Berlin'' by Lothar Fischer; ''Auf der Grossen Strasse: Jean Weidts Erinnerungen'' by Jean Weidt, Marion Reinisch〕 Exhibiting no interest in academics or office work,〔 She began taking dance lessons at the age of nine.〔(Valeska Gert ), cyranos.ch〕 This, combined with her love of ornate fashion, led her to a career in dance and performance art.〔 In 1915, she studied acting with Maria Moissi. World War I had a negative effect on her father’s finances, forcing her to rely on herself far more than other bourgeois daughters typically might.〔 As World War I raged on, Gert joined a Berliner dance group and created revolutionary satirical dance.〔 Following engagements at the Deutsches Theater and the Tribüne in Berlin, Gert was invited to perform in expressionist plays in Dadaist mixed media art nights.〔 Her performances in Oskar Kokoschka’s ''Hiob'' (1918), Ernst Toller’s ''Transformation'' (1919), and Frank Wedekind’s ''Franziska'' earned her popularity.〔(''Twentieth-Century Theatre: A sourcebook'' ), ed. Richard Drain, pp. 34–34. Routledge 1995, ISBN 978-0-415-09619-5〕 In the 1920s, Gert premiered one of her most provocative works entitled “Pause”. Performed in between reels at Berlin cinemas, it was intended to draw attention to inactivity, silence, serenity, and stillness amidst all the movement and chaos in modern life. She came onstage and literally just stood there.〔http://www.huffingtonpost.com/thomas-gladysz/the-remarkable-life-of-va_b_732146.html〕 “It was so radical just to go on stage in the cinema and stand there and do nothing,” said Wolfgang Mueller.〔http://www.dw.de/germanys-forgotten-performer-valeska-gert-helped-inspire-punks/a-6007667-1〕 Gert began acting at the Munich Kammerspiele.〔 Also in the 1920s, Gert’s other progressive performances included dancing a traffic accident, boxing, or dying. She was revolutionary and radical and never ceased to simultaneously shock and fascinate her audiences. When she danced an orgasm in Berlin in 1922, the audience called the police.〔(Profile ), goethe.de; accessed 15 June 2014. 〕 During this time, she also performed in the Schall und Rauch cabaret.〔〔(''Berlin Cabaret'' ) by Peter Jelavich, pp. 184ff. Harvard University Press 1996, ISBN 978-0-674-06762-2〕 During this time, Gert launched a tour of her own dances, with titles like ''Dance in Orange'', ''Boxing'', ''Circus'', ''Japanese Grotesque'', ''Death,'' and ''Whore''.〔 She also contributed articles for magazines like ''Die Weltbühne (The World Stage)'' and the ''Berliner Tageszeitung (Berline Daily News)''.〔 By 1923, Gert focused her work more on film acting than live performance, performing with Andrews Engelmann, Arnold Korff, and others. She performed in G. W. Pabst’s ''Joyless Street'' in 1925, ''Diary of a Lost Girl'' in 1929, and ''The Threepenny Opera'' in 1931.〔〔 In the late twenties, she returned to the stage with pieces emphasizing ''Tontänze (Sound Dances)'', which explored the relationship between movement and sound.〔 Gert could be by turns grotesque, intense, mocking, pathetic or furious, performing with an anarchic intensity and artistic fearlessness which also recommended her to the Dadaists.〔http://strangeflowers.wordpress.com/2010/01/11/the-grotesque-burlesque-of-valeska-gert/〕 Valeska Gert analysed the limits of societal conventions and then expressed with her body the insights that she gained from her analyses.〔 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「Valeska Gert」の詳細全文を読む スポンサード リンク
|