Abstract
In the twentieth century the dance theatre of Kurt Jooss has been crucial to the renewed awareness of the shared traditions of dance and theatre. Jooss transformed Rudolf von Laban's analytical movement theories into a dance theatre that was effective and realistic, in marked contrast with the soloistic and expressionistic dance form of Mary Wigman. Since 1945 the artistic development of dance in both Germanys has been marked by the conflict between the continuation of the modern Laban-Jooss tradition and a renewed classical ballet establishment. Jooss established himself at a time when the great revolutionary surges of modern expressionistic theatre and dance had already been displaced or even superseded by such tendencies as the New Objectivity and the New Search for Form. In 1959 the first European-American summer course in contemporary dance took place at the Folkwang School, with Pearl Lang, Alfredo Corvino and others as lecturers.
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