Elle est née à Séville en 1882. Sa première apparition publique a eu lieu en 1908 au Gaity Theatre de Londres dans le cadre de l’émission « Havana ». La même année, elle est invitée à danser au Wintergarten allemand et aux Folies Bergère à Paris. L’année suivante, il danse à Nürenberg et à Londres. Elle a été invitée à rejoindre le Cirkus Varieté à Copenhague, avec Alice Réjane , avec lequel elles ont fait une tournée en Grèce, en Russie et en Inde.
Ses débuts espagnols ont eu lieu en 1911, au Teatro Romea de Madrid. Son art et sa chorégraphie étaient plus appréciés par les intellectuels que par le grand public: Jacinto Benavente, Pío Baroja, Ramón del Valle-Inclán l’admiraient. Emilia Pardo Bazán a dit d’elle qu’elle était la réincarnation de Salomé. Il est mort à Barcelone en 1955.
source ourpastdreams.tumblr.com archives 2016 ( # dedicace pilleuse)
Emmy Sauerbeck le professeur, qui a beaucoup inspiré ses élèves – et bien sûr la danse – était une danseuse allemande Née en Allemagne, qui a grandi en Angleterre. Ellea dirigé la « School for Movement » à Berne de 1922 à 1974. Né à Londres en 1894, Emmy Sauerbeck a grandi avec deux frères et sœurs. Une représentation de la danseuse Maud Allan, à laquelle elle a assisté avec sa mère, l’avait déjà inspirée dans son enfance. Mais d’abord elle a pris des cours de violon en 1914 à Zurich et la musique sera pour elle un élément fondamental autour duquel elle créera ses chorégraphies . Après seulement un an, elle commence sa formation en danse parallèle au conservatoire de Zurich avec Rudolf von Laban et suit des cours avec Suzanne Perrottet et Katja Wulff.
La formation de Rudolf von Laban a marqué son travail pédagogique: « Rudolf von Laban est le grand innovateur de la danse de notre temps, il a découvert, formulé et rendu fécond pour la danse des lois de l’harmonie et de la mélodie, de sorte que la danse soit au même niveau de développement que la musique en tant qu’art indépendant qui peuvent se confondre les uns avec les autres sans en devenir pour autant dépendant.
Ursula Aeberhard, assistante de longue date d’Emmy Sauerbeck et directrice actuelle de « School for Movement » à Berne, décrit le style de Sauerbeck comme suit: « En plus des balançoires, du suspense – de la détente, de l’impulsion, Emmy Sauerbeck a développé son propre style de danse, qui est extrêmement subtil et différencié. Ses danses étaient souvent basées sur la dynamique et les agogiques de la musique, » L’intérêt intense de Emmy Sauerbeck pour la musique la caractérisait, créant ainsi des danses au son de la musique moderne, des danses uniquement à la batterie, des danses absolues sans accompagnement. Elle choisissait sa musique très soigneusement, et se consacrait entièrement à son service. Nous étions toujours encouragés à accorder un respect inconditionnel à la musique électronique. Emmy Sauerbeck a donné à nos étudiants quelque chose que nous ne pouvions trouver nulle part ailleurs, elle-même le savait très bien. Cela nous a fourni une base sur laquelle nous pourrions, à notre guise ou pourrons, être en mesure de découvrir ou de construire quelque chose de nouveau. »
source photos et texte deutsches-tanzarchiv.de
Alexander ‘Sasha’ Stewart, born 1892 in Edinburgh, moved to London and launched his professional photography career in 1914. In 1920, Sasha opened his first London studio in Bloomsbury. A technical virtuoso and popular amongst the upper class, the photographer’s theatrical and society portraits were frequently seen in sophisticated journals such as The Tatler, The Sketch and Illustrated London News.
As brilliant as he was charming, Sasha was known for his inventions and studio innovations, none more so than the Sashalite. Produced by General Electric with key input from the photographer, the Sashalite debuted in 1930 and was the first commercial flashbulb available in the UK. Sasha used the powerful light generated by the bulbs to capture his trendsetting and signature dramatic shadows and frozen motion.
Riess was born in Czarnikau in the Prussian Province of Posen where her Jewish parents were shopkeepers. At the end of the 1890s, the family moved to Berlin where she first studied sculpture under Hugo Lederer (c. 1907) and later photography at the Berlin « Photographischen Lehranstalt », receiving her diploma in the summer of 1915.
In 1918, she opened a business on the prestigious Kurfürstendamm; it became one of the most popular studios in the city. Partly as a result of her marriage to the journalist Rudolf Leonhard in the early 1920s, she extended her clientele to celebrities such as playwright Walter Hasenclever, novelist Gerhart Hauptmann and actors and actresses including Tilla Durieux, Asta Nielsen and Emil Jannings. While on a trip to Italy in 1929, she was invited to photograph Benito Mussolini. In addition, she contributed to the journals and magazines of the day including Die Dame, Berliner Illustrierte Zeitung, Der Weltspiegel, Querschnit and Koralle
Her success in Berlin was however short-lived. In 1932, after falling in love with the elderly French ambassador in Berlin, she moved to Paris with him, disappearing from the public eye. Even the date of her death cannot be clearly established and her place of burial remains unknown (source wilkipedia)
Laszlo Willinger Sun of Maurus Wilhelm Willinger & Margaret Willinger, Austro-Hungarian photographers who are best known for their portraits of actors of the early silent film era in Berlin.
László Josef Willinger was a Jewish-German photographer, most noted for his portrait photography of movie stars and celebrities starting in 1937.
He was born on April 16, 1909 Budapest, Hungary . Willinger established photographic studios in Paris and Berlin in 1929 and 1931 respectively, and at the same time submitted his photographs to various newspapers as a freelance contributor. He left Berlin in 1933 when Adolf Hitler became chancellor, settling and working in Vienna, where he began to photograph such celebrities as Marlene Dietrich, Hedy Lamarr, Pietro Mascagni, Sigmund Freud, Carl Jung, and Max Reinhardt.
By the mid-1930s he was travelling through Africa and Asia before being invited by studio photographer Eugene Robert Richee to move to the United States.
He crossed into the United States at Mexicali, Mexico on December 20, 1937 and resided in Los Angeles, California.
After establishing a studio in Hollywood, California, Willinger became a frequent contributor to magazines and periodicals, providing magazine cover portraits of some of the most popular stars. Willinger was one of the first Hollywood photographers to experiment in the use of color.
In later years, shortly before his death, Willinger was accused of stalking some celebrities of the time, including Charlie Chaplin. An investigation into the matter led to the uncovering of thousands of personal pictures of the male comedy star ( source wilkipedia.)
All the photgraphy are undated, but we can make the hypothesis, since it has settled in viennia in which these date from this time around 1930
“Such confusion of identity did not apply in the case of Sent M’Ahesa (Elsa von Carlberg 1893-1970), whom audiences persisted in identifying with Egyptian dances (though her dance aesthetic included images from other ancient o exotic cultures). She performed all her dances solo. Born in Latvia, she went to Berlin in 1907 with her sister to study Egyptology but became so enchanted with ancient Egyptian art and artifacts that she decided to pursue her interest through dance rather than scholarship… Under he name of Sent M’Ahesa, she presented a program of Egyptian dances in Munich in December 1909 (Ettlinger). From then until the mid-1920s, she achieved fame for her exceptionally dramatic dances dominated by motifs from ancient Egyptian iconography. …
Her dances always functioned in relation to intricate, highly decorative costumes of her own design, so that it appeared as if she chose movements for their effect upon her costume. In her moon goddess (or Isis) dance, she attached large, diaphanous cloth wings to her black-sleeved arms… Sent M’Ahesa often exposed her flesh below the navel, but I have yet to find a picture of her in which she exposed her hair, so keen was she on the use of wigs, helmets, caps, scarves, kerchiefs, tiaras, masks, and crowns. In her peacock dance, she attached a large fan of white feather plumes to her spine. In other dances, she draped herself with tassels, decorative aprons, double sashes, layers of jeweled necklaces, and arm, wrist, and ankle bracelets. Only in her Indian dances did she wear anything resembling pants. …
… her body was wonderfully svelte, and her face displayed a cool, chiseled beauty, I think, rather, that she sought to decontextualise female beauty and erotic feeling from archetypal images of them originating in cultures other than her own or her audience’s; she sought to dramatize a tension between a modern female body and old images of female desire and desirability. Ettlinger, in 1910, was perhaps more accurate when he remarked that
“Sent M’Ahesa’s dance has nothing to do with what one commonly understands as dance. She does not produce “beautiful,” “sensually titillating” effects. She does not represent feelings, “fear,” “horror,” “lust,” “despair,” as “lovely.” Her are requires its own style. Her movements are angular, geometrically uncircular, just as we find them in old Egyptian paintings and reliefs. Neither softness of line nor playful grace are the weapons with which she puts us under her spell. On the contrary: her body constructs hard, quite unnaturally broken lines. Arms and legs take on nearly doll-like attitudes. But precisely this deliberate limiting of gestures gives her the possibility of until now unknown, utterly minute intensities, the most exquisite of refinements of bodily expression. With a sinking of the arm of only a few millimeters, she calls forth effects which all the tricks of the ballet school cannot teach.”
Sent M’Ahesa was similar to Schrenck in one respect, even though Schrenck never performed exotic dances: both project and intensely erotic aura while moving within a very confined space. They showed persuasively that convincing signification of erotic desire or pleasure did not depend on a feeling of freedom in space, as exemplified in the convention of ballet and modern dance, with their cliched use of runs, leaps, pirouettes, and aerial acrobatics. These dancers revealed that erotic aura intensifies in relation to an acute sense of bodily confinement, of the body imploding, turning in on itself, riddled with tensions and contradictory pressures. They adopted movements to portray the body being squeezed and twisted, drifting in to a repertoire of squirms, spasms, angular thrusts, muscular suspensions. Contortionist dancing is perhaps the most extreme expression of this aesthetic. But Sent M’Ahesa complicated the matter by doing exotic dances – that is, she confined her body within a remote cultural-historical context, as if to suggest that the ecstatic body imploded metaphorical as well as physical space.”
Karl Eric Toepfer, “Solo Dancing,” in Karl Eric Toepfer. Empire of Ecstasy: Nudity and Movement in German Body Culture, 1910-1935. University of California Press, 1997, pp. 175-179. artblart.com