Marion Kant – författare

Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived 'safe' nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.

Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived 'safe' nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.

Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived ''safe'' nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.

Ballet is a paradox: much loved but little studied. It is a beautiful fairy tale; detached from its origins and unrelated to the men and women who created it. Yet ballet has a history, little known and rarely presented. These great works have dark sides and moral ambiguities, not always nor immediately visible. The daring and challenging quality of ballet as well as its perceived ''safe'' nature is not only one of its fascinations but one of the intriguing questions to be explored in this Companion. The essays reveal the conception, intent and underlying meaning of ballets and recreate the historical reality in which they emerged. The reader will find new and unexpected aspects of ballet, its history and its aesthetics, the evolution of plot and narrative, new insights into the reality of training, the choice of costume and the transformation of an old art in a modern world.

The Nazis burned books and banned much modern art. Modern expressive dance, however, found favour with the regime and especially with Dr Joseph Goebbels, the Minister of Propaganda. The way in which modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled Nazi culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later.

"This book points the way for the next steps of further research ...[It] will be a seminal work in facilitating the analysis of understanding the roles of dance and body under fascism." * H-Net Reviews "...Reading along with rapt attention, I can't decide which is more surprising: the blistering clarity and conviction of Kant's claims and their documantation, or the fuzzy preoccupation with self that Hitler's dancers seemed to embody during this period." * Dance Critics Association Newsletter "This is a welcome publication ...[It] provides a valuable insight into the period for English-speaking readers ...The authors provide much new information and pose some serious questions ...essential read." * Dance Theatre Journal The Nazis burned books and banned much modern art. However, few people know the fascinating story of German modern dance, which was the great exception. Modern expressive dance found favor with the regime and especially with the infamous Dr. Joseph Goebbels, the Minister of Propaganda.How modern artists collaborated with Nazism reveals an important aspect of modernism, uncovers the bizarre bureaucracy which controlled culture and tells the histories of great figures who became enthusiastic Nazis and lied about it later. Lilian Karina, born in Russia, studied ballet with Eduardova and Gsovsky in Berlin in the 1920s and danced with Sascha Leontieff, Aurel von Milloss and many others. She fled from Germany to Hungary and later Sweden, where she opened a ballet studio and still lives in Stockholm. Marion Kant was raised in East Berlin and began dancing at the Comic Opera at the age of 14. She took her PhD at Humboldt University in musicology and dance history and has taught at the Free University of Berlin, Kings College London, Cambridge University, the University of Surrey and now at the University of Pennsylvania. Jonathan Steinberg is Walter H. Annenberg Professor of Modern European History, University of Pennsylvania.