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Totentanz I [transmission 2022]
A choreographic extract remodelled by the group Le Terrain Vague II, choreography, transmission Christine Caradec, as part of the “Danse en amateur et repertoire” programme 2020/2022 (a programme created to assist and promote amateur dancing).
Presented on 18 June 2022, Maison de la danse in Lyon.
The piece when it was created
Totentanz I
Firstly produced 18 June 1917 during a dancing night et the Pfauentheater in Zurich
Choreography: Mary Wigman
Piece for one performer: Mary Wigman
Performers on 14 January 1921 in Dresden: Mary Wigman, Gret Palucca, Berthe Trümpy and Yvonne Georgi
Music: Danse macabre, Camille Saint-Saëns
Original duration: 8 minutes
The group
Founded in 2010, and bringing together dancers from ages 10 to 67, this group draws on a variety of styles and techniques including, classical ballet, jazz and contemporary dance. They develop their craft as dancers and creators through regular classes and workshops. Based in Nice and headed up by school teacher Isabelle Blondeau, this amateur group, whose members have been working together for several years, is participating in the programme Amateur Dance and Repertoire for the fourth time. The group aims to delve further into its exploration of iconic, historical works from the first half of the 20th century. To reconstruct historical pieces, the group uses Labanotation with the help of dance notator and coach Christine Caradec.
The project
Mary Wigman’s Totentanz I, was created in 1921 and danced by the choreographer up until 1924. Originally, the piece was performed by Gret Palucca, Berte Trümpy, Yvonne Georgi and Wigman herself. Its story might have stopped there if it wasn’t for a 2017 reconstruction by a team of dancers and researchers based at the Osnabrück theatre (Germany), including Christine Caradec, performance coach, teacher trainer and Laban dance notator. Using archives, including illustrations, texts and two photos, this iconic piece of German expressionist dance was transcribed into Labanotation so it could be taught to dancers. Christine Caradec is piloting this delicate and complex reconstruction, which aims to remain as faithful as possible to the aesthetic of the original costumes and headpieces.
