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6e*»e1e0ene18tIfdeifhSA NEW SCHOOL OFDANCINGnee%e[tynedWell Known Viennese Dancer inShanghaiThe programme which Maestro Paci Yias arranged for ' this evening at the Lyceum Theatre, proml'ses an unusual abundfamce bf interest and novelty, from the fatbtthat the' well known Viennese interpretive dancer, Hans Wiener, is scheduled to make his first public appearance on that 'occasion. Mr. Weiner describes the particular •form of expressionism of which Ihe is an exponent as having nothing im common with the principles of the ballet—with which he had lomlg since broken—but as aiming the spontaneous response to melody, every part of the dancer’s bodjy being surrendered to the flow otf rhythm.When Mr. Wiener started hiscareer as a dlaivcer, the modern school of interpretive dancing was in its infancy, and the young artist passed through its Various phases. The Greek plastique, in the style of Isadora Duncan and Ruith St. Denis, and later the classical bal-effryetdri-5de21ISHans Wiener, the Viennesedancer in Shanghai.i-2il-iljr5-ie;rcsr.let, were among his experiences, the latter, said he, interesting him but little. Then there came to Vienna, Ellen Tels the Russian dancer, from Moscow, one of the first to introduce there the group compositions combining the methods of the two Americans. With Ellen Tels Mr. Wiener began to play leading rolda. Afterwards he came under the influence of Saharoff famed on the Continent, and especially in France. Ellinor Tord'is, Saharloff’s leading disciple, not only danced, but opened a school in Vienna, which Wiener joined, to teach the Saharoff fcirt of dancing and physical cuilture,Vienna to promulgate the art of1 dancing to the accompaniment only otf drum and gong^—from which it is evident that Mary Wigmlan had imbibed some of the principles ofthe Orient. According to her theory,correct breathing is as essential to/the dancer as to the singer, breath being represented as the most important factor in creating the driving force behind the flow of motion. But while the body must be trained to yield readily to any insgaaratiipn, the hands are held to be the finjal and most important medium of expression—thus again making apparent the influence of the Orient. Hans Wiener worked successfully with Mary Wigman for three years,first as pupftl, then teacher, andfinally as producer, having ranked one of the best among hoi* 800 pupils. Subsequently Mr. Wiener toured the Continent for a year or two, after which he arrived in Shanghai, as a pioneer exponent here of the last word in m'odem dancing, and to open a (studio where, at the present time, the principles of Ellinor Tordis are being taught. Hils own programme on Saturday night -will present si gen-,erial view of hi/ accomplishments, some of the numbers to be accompanied alone by Mr. Foa, on the violin, Mr. Carvalho on the piano, and others by the orcheistra. Bach, Tschaikjowsky, Oasella, transcriptions by Kreisler and Max Reger, are among the comipOserp to be interpreted by the dancer, as well as the work of a local composer, Jack Levi'?, written especially for Hans Wiener.Mr. Wiener will give the following programme at his recital:1. Sonata ...................VivaldiMr. A. Foa and Mr. F. de Carvallho2. Flemish Suiite Folksongs 15th centuryHans Wiener3. Souvenir de Moscou .. . Wieniawski Mr. A. Foa and Mr. F. de Carvallho4. Evil (Grotesque) ............I.evisHans WienerTheme with VariationsCorelli-KreislerHans Wiener4. Minuetto ..................MozaittMr. A. Foa and Mr. F. de Casrvall'ha7. Prelud'ium .......Pugnand-KreislerHans Wiener 3. Sicilians Bolero ....Alfredo OasellaHans Wiener9. Capriccio Italian TschaikowskiThe Orchestra19. March Waltz ........TschdikowskiHans Wiener11. Hungarian Dance No. 1...BrahmsThe Orchestra12. Judgment .................BachHans Wiener13. Dance griciosl ...........iteg.*.rHans Wiener14. The death of Asse...........GriegThe Orchestra15. The 'Flight ................GriegH ans Wiener :nd three pupils16. Ballet ................DebussyThe Orchestra17. Gollywogs Cakewalk DebussyHans WienerTHE CHILDREN’S CONCERTAT TOWN HALLSpecial Display of the WindBandThe second concert for children at the Town Hall on Thursday devoted special attention to the wind band,the desire being to fix in the mind the different wood and brass windsubsequently becoming the dancing I instruments, all of which were ex-;yity,namm:hpartner of Mme. Toris in Continental tours. To the music of Rameau, Bach, Couperin, Oorrelli, and Handel they danced in a chalste, restrained style which critics termed pre-Raplhlaelite, and suggestive of Beticelli types.A New Lighton the horizon of Mr. Wiener. Mary Wigman, who has been said to have taken a step in advance of all other modern interpreters of the poetry of motion, appeared inplained and illustrated at last, month’s concert. A number of charming compositions had been dugup from every possible quarter byMaestro Paci, duets for oboes, for English horns, for clarinets and bassoons; a trio for flute, English horn and harp; a duet for trombones; and so forth. It upsets many dawned | preconceived ideas and the basis ofmuch conventional comic poetry, to find what s ft full rich notes the trombone can produce when playedas it was yesterday. Furthei-, without derogation to the players,
Newspaper Details
North China Herald
Shanghai, Shanghai, CN
Sat, Nov 27, 1926
Page 10
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