Examples of using Jooss in English and their translations into German
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Colloquial
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Official
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Ecclesiastic
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Medicine
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Financial
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Ecclesiastic
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Political
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Computer
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Programming
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Official/political
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Political
Once Jooss came into the rehearsal and watched and said.
You will find further information in the publication of Birgit Jooss.
From Kurt Jooss she had learned'honesty and precision.
At the age of 14, Pina Bausch started a danceeducation at the Essen Folkwang Hochschule under Kurt Jooss.
Photo: Magdalena Jooss Strong personalities are in demand!
Today, residents have all but forgotten about works by pioneers such as Rudolf von Laban,Kurt Jooss, Mary Wigman and Oskar Schlemmer.
May 22- Kurt Jooss, German dancer and choreographer b.
Staying close to reality was something Pina Bausch had learned from Ausdruckstanz, or'expressive dance', practiced by her teacher Kurt Jooss at the Folkwang School.
She had been working with Kurt Jooss at the Städtische Bühnen Münster since 1924.
Kurt Jooss(1901-79) created the first»political« ballet in dance history with»Der Grüne Tisch«»The green table«.
These lists are based on research by Birgit Jooss and Sabine Brantl and are updated annually.
At that time, Jooss was a major representative of German dance modernism around the Second World War.
Dance training at Folkwang University of the Arts has been closely associated with the tradition of the theory of movement analysis which was influenced by Rudolf von Laban andKurt Jooss.
Pina Bausch danced in works by Jooss, both old and new, as well as assisting him with choreography.
Jooss was a significant proponent of pre- and post-war German modern dance which had freed itself from the shackles of classical ballet.
Christina Ciupke and Anna Till look into the question of how knowledge of former dances by Mary Wigman,Kurt Jooss, Dore Hoyer, Pina Bausch and William Forsythe has reached us.
After Kurt Jooss had retired in the year 1968, Pina Bausch became Director of the„Folkwang Ballett“.
Choreographers Christina Ciupke and Anna Till looked at how information about past dances by Mary Wigman,Kurt Jooss, Dore Hoyer, Pina Bausch and William Forsythe has reached us today.
Since 1927 when Kurt Jooss founded Folkwang Dance, it has continuously been giving guiding impulses to national and international dance.
Despite sworn statements by Rökk, director Georg Jacoby and producer Rolf Meyer saying that they knew absolutely nothing about Der grüne Tisch, the court ruled that there is"a high probability that the table scene has in partbeen borrowed from the dance drama by Kurt Jooss.
Kurt Jooss wins the first price in the international choreography competition in Paris with his legendary choreography"The Green Table" and wins his worldwide fame.
Two institutions that are of great importance for dance in the 20th century have also coined Pina Bausch's artistic career as a dancer and choreographer: TheFolkwang School in Essen where Pina Bausch studied stage dance and dance education with Kurt Jooss from 1955, and the New York Juilliard School for which she received a scholarship in 1959.
Tradition creates innovation Since 1927 when Kurt Jooss founded Folkwang Dance, it has continuously been giving guiding impulses to national and international dance.
At first, the ballet mirrored the paths of a post war ballet and only eventually implemented the change and opened up towards currents and personalities of the international scene. On the basis of classic-academical dance a diversified repertoire prospered in which ballets from AugustBournonville, Marius Petipa and George Balanchine come across each other. Choreographies by Hans van Manen, Kurt Jooss, Maurice Béjart and Valery Panov formed the repertoire. Protagonists were among others Eva Evdokimova or Peter Schaufuss.
A close companion of Kurt Jooss, Sigurd Leeder and Pina Bausch, he was an outstanding artist and educator born in France, who taught on the basis of the classic Cecchetti technique and the Jooss-Leeder method.
Prominent personalities of dance such as Mary Wigman, Dore Hoyer,Kurt Jooss, and Hans Züllig have shaped Susanne Linke's unique movement memory, from which she has developed a very own, highly structured technique.
George Balanchine on one side and on the other Kurt Jooss, who created a central work of German dance with his dance of death‘The Green Table', which resonates as loudly now within the art of dance as Balanchine's revolutionary neoclassicism.
In this expressionistic piece conceived as a dance macabre, Jooss translated the classical motive of late medieval art linked to motives that reflect the times of the Weimar Republic, the first Fascistic tendencies, the economic crisis, etc.
Ress had competed in the same choreography competition in Paris in 1932 that Jooss won with Der grüne Tisch while in 1950 Rökk had spent a long time touring with Werner Stammer who had been a member of Jooss's company and had danced in Der grüne Tisch.
In this expressionistic piece conceived as a dance macabre, Jooss translated the classical motif of late medieval art linked to motifs that reflect the period of the Weimar Republic, the first fascistic tendencies, the economic crisis, etc.