Modern Dance History Doris Humphrey and Charles Weidman

Modern Dance History Doris Humphrey and Charles Weidman

Humphrey’s Background: Doris Humphrey was one of Ruth St. Denis’ favorite pupils. She choreographed with the St. Denis music visualization method but went on to create her own movement technique. Doris Humphrey on film Ruth St. Denis with Doris Humphrey

Her Technique: Instead of striving to defy gravity (as intended by ballet), Doris Humphrey was interested in man’s constant struggle against it. Her technique of Fall and Recovery finds the most exciting part of movement to exist in between perfect balance and the body’s inevitable yielding to gravity. This moment between balance and falling is referred to as suspension. “Water Study”

Charles Weidman was also a student at Denishawn. Charles Weidman on film

Humphrey-Weidman Charles Weidman was partners with Doris Humphrey (both romantically and professionally ). Together they created the Humphrey-Weidman Modern Dance Company. Humphrey-Weidman Company dancers Humphrey and Weidman

Humphrey’s Legacy -Later Humphrey became a staff member at Juilliard -She wrote “The Art of Making Dances, ” a book designed to help other artist improve their skills as choreographers. -She worked as the Artistic Director of the Limon Dance Company (founded by her student Jose Limon) until her death in 1958. The company continues to perform and tour today.

Weidman’s Works: Weidman was skilled in pantomime and satire and eventually created his own performing company. Lynchtown choreographed in 1936 “A portrait of a community consumed by violent passions, it was filled with accusatory gestures, grotesque hoppings and stampings and fierce pursuits. . . The twisted minds of bigots were symbolized by twisted bodies. Dancers doubled up with rage and when the lynch mob finally dragged in its victim, they gathered about his body as if they were vultures. Although the work's title referred to a lynching, neither the choreography nor the costuming evoked a specific locale. Therefore the dance could be interpreted as an attack upon mass hysteria as it might occur in any time or place. Yet though it dealt with a loss of control, ''Lynchtown'' never went choreographically out of control… here Mr. Weidman was concerned with the structure of hatred. ” -Jack Anderson, New York Times