BODENWEISER BALLET RETURNS TO TOUR NEW ZEALAND

Wanganui Chronicle, 22 November 1950, Page 9

BODENWEISER BALLET RETURNS TO TOUR NEW ZEALAND

The return of the celebrated Viennese Modern Expressive Ballet under the direction of Madame Gertrude Bodenwieser to New Zealand will interest those who saw the ballet when it toured the country in 1947 and introduced this particular form of group dance for the first time. The Bodenwieser Ballet has just completed a tour of South Africa. With the ballet on this tour is a New Zealander —and the only male member of an all-female ballet. He is 23-year-old Basil Pattison. He is the first male dancer Madame Bodenwieser has ever had in a ballet since she slatted her touring company nearly 10 years ago. Born In Vienna, daughter of an old Austrian family. Madame Bodenwieser had her early training in the traditional art of the ballet. It was not long, however, before she began to develop her own ideas—Max Reinhardt, the famous producer, was interested and asked her to go to Berlin to give a recital in his Kammerspielhaus—and modern expressive dancing was born. Today, it is being taught all over the world by pupils of Madame Bodenwieser. Her system is recognised by psychologists as having great educational value, and was responsible for making expressive dancing a recognised science such as music. In 1936 Madame Bodenwieser was appointed Professor of Dance and Choreography at the State Academy of Music and Dramatic Art in Vienna. She later formed the Tanzgruppe Bodenwieser, and gave recitals in England, South America, France, Switzerland, Holland, Belgium, Poland and other countries. In 1931 she gained the Grand Prix at Florence; in 1932 the bronze medal at the

concours International de la Dance in Paris; and was later called for the centennial festival to Columbia in South America where she was nominated by the Ministry for the post of Professor at the Institute Central Femenio.

COS>iorOUTAN COMPANY.

Madam Bodenwieser is bringing with her what must be the most cosmopolitan company ever to be assembled, comprising dancers from Vienna, Australia, France, England, Spain, Tasmania, Latvia and New Zealand. The great art of the modern expressive ballet is international as are its devotees and its disciples. The company also bring a complete new repertoire and new costumes. They are recognised throughout the world as the greatest exponents of Modern Expressive dance. Realistic interpretation of the psychological difficulties of modern life are attempted. One dance study is called “The Demon Machine,” and depicts how, in this age age of mass production, the human is becoming the servant of the machine rather than the machine the servant of the human. Another, "The Life of the Insects," Will show the struggle for individuality in an age of massed humanity and is a dance adaptation of the play "The Insects,” by the Brothers Capek. Comedy is also present in these programmes and Madame Bodenwieser gives sparkling humour in her interpretation of that most celebrated of the gl-eat Molieres comedies "Malade Imaginaire.” A modern dance group is comparable with a chamber music orchestra. Each dancer is an individual in the same way that each instrument has its own tone, and, as with an orchestra, the members must unite to form the perfect whole. The choreography does not allow ol a solo dancer and corps de ballet. Eacn person In a modern ballet is thrown into the dramatic action and is a part of a responsible unit. Every part, of the body is involved in the dance—shouders, arms, lips, feet, eyes—all contribute expression to a movement, and each dancer has a responsible duty, and an opportunity to interpret a theme in her own way.

Frocking In The Repertory

One of the features of the play “The Paragon,” which opened its season at the Repertory Theatre last, night, was the attractive frocking. Phyllis Harraud, as Joan, first appeared in an afternoon dress of ott-white moss crepe, trimmed at the neckline, cuffs and pockets with gold studding, and skirt styled with unpressed pleats. She later wore a slim-fitting dinner frock of almond green wintercord, with wide draped collar and swathed waistline. Hilary Scrymgeour, who portrayed the part of Angela, was seen in a deep burgundy tailored suit of gabardine. For the dinner frock she chose moire taffeta of beech red shot with green, with wide square-necked fitting bodice and peg-top ankle length skirt. Joan Gardiner, as the eccentric Aunt Jessica, wore a satin striped jumper frock patterned with morning glory. After dinner she changed into a black floral satin. Miss Jean Evans, as the maid, was dressed in the conventional black frock and white apron. Mrs Olive Tarrant is the producer, and the play will be staged each night this week.

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