Kurt Joss Biography

On the instructions of Hollywood, he transfers to the Broadway hit on the screen based on Roman Christopher Isherwood “Farewell, Berlin! But he tells the story of a young writer, a singer from Kabaret and Germany in the early thirties exclusively in his own way. The plot of Fossi leaves the same, but the accents take others. Inside the huge puff pie from romance, melodrama and burleska, Fossi laid the meanings that he transferred the second to the second.

In Kabar, the burning atmosphere of Berlin was recreated, the beginning of X, which devour people and the city with a brown cloud. All this happens under the supervision of a demon in Belilay: a demonic entertainer. Note: if Yoss has a superplant - death itself, then Fossi has a carnival manager in hell. To achieve the viewer’s immersion in the desired atmosphere, Fossi not only asks to add musical compositions, for example, Mein Herr, but takes off songs and dances with more than one “theatrical” plan, but uses sharp, sometimes grotesque angles and all available installation techniques - jumps, interruptions and the most unexpected gluing.

This was taught by the film defective. In the year, he was the director of the film "Cute Chariti" with Shirley Maclein in the title role. The film version of the Broadway musical, based on the tape of Federico Fellini, "Nights of Kabiri", failed, but gave Fossi an invaluable experience. Result: its “cabaret” is one of the most powerful antimilitarian statements in the whole history of Hollywood, which brought the filmmakers of 8 Oscar statuettes.

But she was the flesh from the flesh of the military generation, and passed through itself all its destructive consequences. As a student of Kurt Yossa and the heiress of his plastic ideas, she continued the development of the dentist. It was part of all kinds of existential topics: from the drama of loneliness to the relationship of the sexes. After the war, Germany wanted peace.

Art acquired pleasant and pacifying forms that do not fight old wounds. The Germans strove for anesthetic, but not for therapy: I wanted to heal the pantyhose on the body anesthesia, and not a cruel psychoanalysis that worked on the verge of lobotomy. And then a fragile woman arises in the men's coat of oversize and offers to open the veins of injuries and degenerate. The future queen of German expressive dance, Pina Bausch, becoming the head of the ballet troupe of industrial vuppertal, decided to pull out the problems of society outward and put them in preparation under increasing glass.

In the year, after the premiere of the Spring Spring, she woke up famous. On the one hand, it was a bold ode to a woman - a chosen one, on the other, her heroes, whose sweat on stage was mixed with lumps of peat. These heroes were a new generation that appeared in agony - gg. The antimilitarian meaning does not lie on the surface of its "spring", but genetic horror before pain and fear of the abyss impreases all the work.

Maurice Bezhar, Acqua Alta, “Soldier in love”, The year Maurice Bezhar first spoke about the meaninglessness of the war in the year when he worked on the ballet “Romeo and Juliet”. It was the midst of hostilities in Vietnam. In his production, he to a lesser extent retold the plot, to the larger - he turned to the essence and, as it were, said: "Down with the war, make love." Continuing this thought, in the play Acqua Alta in the year, Bezhar turned on the lively and dashing number “Soldier in love”.

In this essay, everything is literally opposed to the nightmare of war: the text - about love, faith and hope, choreography - about life and glee. Naturally - to dance, unnaturally - to kill. The second here is behind brackets, but the threat hanging over a happy lover is invisibly present. Left Aryeh Weiner, Nacho Duato. One of the main composers of the Entreprise Diaghilev composed a ballet opera during the First World War: the premiere of the performance was held in the year.

The basis is a Russian fairy tale about a soldier who sold his soul a line for a book of the future. Of course, nothing good comes out of this. At first, the main character loses the mother and the bride, then another chance of love, and in the finale will fall into hell, while the viewer observes the triumph of the devil. The philosopher Kilian did not stand aside: he tells his parable through a mix of classic ballet, pantomime and modern dance.

The main thing is an agreement with the devil, an insurmountable feature, stepping back on. Here, Kilian is already beyond the framework of just an antimilitarian theme, musically tailored from tango, foxtrot and ragtime. He talks about the choice. The Israeli dance is a tradition, DNA, the Old Testament and the modern language of freedom. He does not limit himself in topics: Ohad Naarin can talk about Easter and the Palestinian-Israeli conflict, and Sharon Eyal-about love and obsessive obsessive-compulsive disorder.

One thing is invariable: they are not afraid of political statements, nor naked emotions. No wonder in the bowels of the Israeli dance new antimilitarian works appear. Music immediately reveals the pain points of the viewer. The pet Batsheva, Hofesh Shechter deconstructs no longer the war - external and internal - but its consequences.In the year, in the play Grand Finale, nominated for the Lawrence Olivier Award, he definitely makes it clear that the world is about to crack from aggression, and hypnosis of cruelty-here we recall his Clowns-he can absorb everything.

We see how the humanistic ideas with deliberately theatrical images of the 20th century later, almost a hundred years later, were replaced by statements by fierce and loud literally: headphones are handed out on the performances of Shekhter so as not to frighten the viewer with industrial electronic techno. But at the same time, choreographers wove the joy of being, fragility and tenderness into their hard therapy.

What is worth and you need to live and create, of course. The material was prepared by Olga Ugarova.