Fuchs Lívia: A tánc forradalmárai. Vendégszereplők 1898 és 1948 között. Bajor Gizi Színészmúzeum, Budapest 2004. március 19 - május 2. (Budapest, 2004)
Kísérlet a szintézisre
phot Robertson time, Niddy Impekoven became the most celebrated soloist, and her remembrance has been kept not only on the pages of contemporary journals, but also by someone who actually saw her perform. According to him she “worked with amazingly pure, sincere and childlike forms of expression. She herself looked as if Rodin had created her young girl’s body.” The success of this fragile, charming phenomenon in Budapest was such that her dance recitals soon had to be transferred to theatres, although, unlike Gert, Impekoven could by no means be called mimetic. Impekoven “never dances out ideas, and this is how she most approaches the notion of absolute dance. To dance out ideas means trivialising dance so it becomes some kind of awkward allegorising; it is an aesthetically unscrupulous blurring of the boundaries of different art forms - something like narrative painting or pictorial music,” appeared in the Nyugat. If Impekoven reminded one of china ornaments, Wigman and Palucca recalled the overwhelming force that would shatter this all but idyllic showcase-world. Mary Wigman had a single performance in Budapest in 1922. Her program comprised eleven etudes — inspired mainly by oriental art -, a waltz and a polonaise. Wigman’s recital went virtually unnoticed. The 1932 performance of Gret Palucca, whose jumps were legendary, was anticipated by her fame. But seeing the dancer glorified in the German press came as another disappointment. “We have been deprived of one more illusion,” wrote the Pesti Napló. “Palucca communicates Wigman’s school, but while the great German dancer’s performances develop within the bounds of perfect harmony and graceful artistry, employing great lyric empathy, Palucca leaves us with a lack of lyricism and harmony. She stamps around in the dubious manner of an intellectual cowboy.” The male star of the new dance, Harald Kreutzberg, appeared regularly in Budapest from 1935 on. The reviews of his debut were unenthusiastic, claiming that his contrived compositions lacked intuitiveness and passion. On his next visit he was praised on account of “his sets having a soul, too”, but he was also censured because “...he relinquishes the dance-like quality of dance in favour of philosophising. He strives to express ideas with his movements. He has proven that the body can express what words express.” Kreutzberg appeared in Budapest even after
