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i

Gestural Imaginaries
ii

Oxford Studies in Dance Theory

MARK FRANKO, Series Editor

French Moves: The Cultural Politics of le hip hop

Felicia McCarren

Watching Weimar Dance

Kate Elswit

Poetics of Dance: Body, Image, and Space in the Historical

Avant-​Gardes
Gabriele Brandstetter

Dance as Text: Ideologies of the Baroque Body,

Second Edition
Mark Franko

Choreographies of 21st Century Wars

Edited by Gay Morris and Jens Richard Giersdorf

Ungoverning Dance: Contemporary European Theatre Dance

and the Commons
Ramsay Burt

Unworking Choreography: The Notion of the Work in Dance

Frédéric Pouillaude

Making Ballet American: Modernism Before and Beyond

Balanchine
Andrea Harris

Choreomania: Dance and Disorder

Kélina Gotman

Gestural Imaginaries: Dance and Cultural Theory in the Early

Twentieth Century
Lucia Ruprecht
iii

Gestural Imaginaries
Dance and Cultural Theory in the
Early Twentieth Century

Lucia Ruprecht

1
iv

1
Oxford University Press is a department of the University of Oxford. It furthers
the University’s objective of excellence in research, scholarship, and education
by publishing worldwide. Oxford is a registered trade mark of Oxford University
Press in the UK and certain other countries.

Published in the United States of America by Oxford University Press

198 Madison Avenue, New York, NY 10016, United States of America.

© Oxford University Press 2019

All rights reserved. No part of this publication may be reproduced, stored in

a retrieval system, or transmitted, in any form or by any means, without the
prior permission in writing of Oxford University Press, or as expressly permitted
by law, by license, or under terms agreed with the appropriate reproduction
rights organization. Inquiries concerning reproduction outside the scope of the
above should be sent to the Rights Department, Oxford University Press, at the
address above.

You must not circulate this work in any other form

and you must impose this same condition on any acquirer.

Library of Congress Cataloging-​in-​Publication Data

Names: Ruprecht, Lucia, 1972–​author.
Title: Gestural imaginaries : dance and cultural theory in
the early twentieth century /​Lucia Ruprecht.
Description: New York : Oxford University Press, 2019. |
Series: Oxford studies in dance theory |
Includes bibliographical references and index.
Identifiers: LCCN 2018040520 (print) | LCCN 2018053236 (ebook) |
ISBN 9780190659394 (updf) | ISBN 9780190659400 (epub) |
ISBN 9780190659417 (oso) | ISBN 9780190659370 (cloth : alk. paper) |
ISBN 9780190659387 (pbk.: alk. paper)
Subjects: LCSH: Modern dance—​Europe—​History—​20th century. |
Choreography—​Europe—​History—​20th century. | Gesture in dance.
Classification: LCC GV1783 (ebook) | LCC GV1783 .R79 2019 (print) |
DDC 792.8094—​dc23
LC record available at https://​lccn.loc.gov/​2018040520

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Paperback printed by WebCom, Inc., Canada

Hardback printed by Bridgeport National Bindery, Inc., United States of America
v

This possibility of bodies to be several things at the same time is a pre-

condition for the imaginary, and thus for the development of gestures
and dance.
—​Jeroen Peeters, Through the Back: Situating Vision between Moving Bodies

Imponderable evidence includes subtleties of glance, of gesture, of tone.

—​Ludwig Wittgenstein, Philosophical Investigations

Every age had its own gait, glance, and gesture.

—​Charles Baudelaire, The Painter of Modern Life
vi
vi

CONTENTS

List of Figures ix
Series Editor’s Foreword xi
Acknowledgments xiii
List of Abbreviations xv

Prologue: Inaugurating Gestures—​Le Sacre du printemps 1

Introduction: Gestural Imaginaries 23

1. A Second Gestural Revolution and Gesturing Hands in Rainer Maria Rilke,

Auguste Rodin, Mary Wigman, and Tilly Losch 51

2. Gestures of Vibrating (Interruption) in Rudolf von Laban, Mary Wigman,

and Walter Benjamin 71

3. Conducts and Codes of Gesture in Walter Benjamin and Franz Kafka 87

4. Gestural (In)visibility in Béla Balázs and Helmuth Plessner 107

5. Gestures between Symptom and Symbol in Aby Warburg and Sigmund

Freud 125

6. Gestures between the Auratic and the Profane: Niddy Impekoven’s and
Franz Kafka’s Reenactments of Liturgy 151

7. Gestural Drag: Baroquism and Modernist Minstrelsy in Alexander and

Clotilde Sakharoff 169

8. Floral Pathochoreographies: Mime Studies by Harald Kreutzberg,

Alfred Döblin, and Jo Mihaly 193

Epilogue: Intermitting Economy, Opening Futurity 221

Notes 229
Bibliography 287
Index 313
vi
ix

FIGURES

1.1 Hilde Doepp in Dreams and Masks, photographed by Charlotte

Rudolph 57
1.2 Mary Wigman, Hand Study, photographed by Albert
Renger-​Patzsch 63
1.3 Arm and Hand Studies, photographed by Charlotte Rudolph 64
1.4 Arm and Hand Studies, photographed by Charlotte Rudolph 65
1.5 Tilly Losch in Dance of the Hands, photographed by Emil Otto
Hoppé 69
5.1 Birth of the Baptist by Domenico Ghirlandaio 131
5.2 Panel 47 from Aby Warburg’s Mnemosyne Atlas 133
5.3 Moses by Michelangelo 144
5.4 Drawings of Michelangelo’s Moses by Sigmund Freud 145
6.1 Niddy Impekoven in Bach Dances, Atelier d’Ora/​Benda 154
6.2 Niddy Impekoven in Bach Dances, Atelier d’Ora/​Benda 155
6.3 Niddy Impekoven in Bach Dances, Atelier d’Ora/​Benda 156
6.4 Niddy Impekoven in Bach Dances, Atelier d’Ora/​Benda 157
7.1 Alexander Sakharoff in Pavane royale 177
7.2 Alexander Sakharoff in the Louvre in front of Hyacinthe Rigaud’s
portrait of Louis XIV 182
7.3 Alexander Sakharoff in Pavane royale, photographed by Masao
Horino 183
7.4 Clotilde Sakharoff in Chanson nègre, photographed by René
Gilbert 190
7.5 Clotilde Sakharoff in Chanson nègre, photographed by Masao
Horino 191
8.1 Jo Mihaly in Vision of War 201
8.2 Jo Mihaly in Vision of War 202
8.3 Jo Mihaly in Vision of War 203
x

x F igures

8.4 Harald Kreutzberg in Three Mad Figures, photographed by Hans

Robertson 206
8.5 Harald Kreutzberg in Three Mad Figures, photographed by Hans
Robertson 207
8.6 Jo Mihaly in Flower in the Backyard 217
8.7 Jo Mihaly in Flower in the Backyard 218
8.8 Jo Mihaly in Flower in the Backyard 219
xi

SERIES EDITOR’S FOREWORD

With Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth
Century, Lucia Ruprecht presents us with a new history of modern dance for
the most part in the German ambit of the early twentieth century. By iso-
lating the concept of gesture as crucial to the performance and interpretation
of modern dance and related theatrical, philosophical, and literary as well as
critical enterprises, Ruprecht opens up a new conceptual and performative
domain of European dance modernism. She conceptualizes the field of ges-
ture at this time as a broader one than dance alone can claim as its own, yet
one which signifies its cultural necessity and effectiveness most convincingly
through danced performance. Gesture, for Ruprecht, exists in a proliferating
field that moves across the borders of literature, criticism, film, theater, and
choreography. For this reason, her work differs from earlier reflections on ges-
ture in that she avoids giving an ontological definition of gesture, and this is
also a reason for her to align gesture with the imaginary.1
Ruprecht grounds her understanding of gesture primarily in Walter
Benjamin’s understanding of it as a critical and ethical rhythm governed by
vibrancy and intermittency. Gesture is thus a formal feature of much early
twentieth-​century choreography while also being a hermeneutic category of
inquiry into its own meaning and interpretation or, rather, into its particular
method of constructing meaning choreographically and corporeally. What
Ruprecht calls the modernist field of gestural proliferation exceeds the bounds
of dance and writing, performance and literature, as each proves to be of
theoretical import for the other. In other terms, gesture itself is an operative
concept increasingly seen to blur the boundaries between danced movement
and critical theory.
In addition, this book inaugurates an important new stage in the relation-
ship of dance studies to philosophy. Dance studies has relied since its incep-
tion on philosophical insights into a host of issues touching upon the body
and gesture in order to carve out its own sphere of scholarly inquiry. In the
xi

xii S eries E ditor’ s F oreword

burgeoning of dance analysis and of dance as a cultural text, something that

had received virtually no attention prior to the emergence of this new field in
the humanities, dance studies was known to “borrow” from other disciplines
as well as to “gesture” to other disciplines by way of indicating the importance
of this unexplored material to the larger project of the humanities in its diverse
facets. In the course of this development over the last thirty years, a few im-
portant philosophers declared themselves interested in writing about dance,
which created an enormous wave of interest in their work, and occasioned a
second phase of wonderment as to the ability of philosophy to open its borders
to unexpected inquiry and hold the analytic high ground. But with Gestural
Imaginaries, something has changed.
Gestural Imaginaries marks a new stage in the relationship between dance
and philosophy. To a more fundamental and systematic degree than had earlier
been the case, philosophical investigations of gesture are now being examined
under the microscope of danced criteria, and their methodologies subjected
to scrupulous examination and critique. It is here that Lucia Ruprecht’s book
intervenes—​not accidentally on the terrain of gesture itself—​to dialogue with
the work on dance and gesture by Jacques Rancière, Georgio Agamben, and
others (including Theodor W. Adorno). This is a significant critical move when
undertaken on the scale of this book, and it is one that, coincidentally, opens
up the domain of gesture to dance studies from fully contemporary as well as
fully historical angles.
Mark Franko
Series Editor
xi

ACKNOWLEDGMENTS

This book is a conversation with many people, but without two of them, it would
not exist in its current shape: Gabriele Brandstetter, who hosted my Humboldt
Fellowship at the Institute of Theater and Dance Studies at Free University Berlin
from 2013 to 2015, provided a wonderfully stimulating research environment,
and offered feedback and presentation space, mentorship, friendship, and sup-
port; and Mark Franko, who published an early version of one of the chapters,
agreed to include the book in the Oxford Studies in Dance Theory series, invited
me to teach and present at his department in Philadelphia, and instigated in-
tellectual exchange that sparked my thinking over the past few years. I am im-
mensely grateful to both of them. There are more friends and colleagues whose
comments and advice were instrumental. Susan Manning was an enthusiastic
interlocutor from the start, continuing our conversation that began many years
ago. Susan Leigh Foster’s suggestions steered me into productive directions. My
engagement with Weimar dance was triggered in discussions with Kate Elswit,
first as her supervisor, then as colleague and friend; her energetic presence is
visible on the pages of this book. Carrie Noland, Rebecca Schneider, Astrid
Deuber-​Mankowsky, Michael Minden, Alexander Schwan, and Jonas Tinius
contributed fabulous papers to the symposium on the ethics of gesture that
I organized at Emmanuel College, Cambridge, in 2016; the thinking that went
on during this day has marked my work on Gestural Imaginaries. My profound
thanks are due to Andrew Webber, as always, for his comments on selected
book chapters, his mentorship, and his friendship. Katja Haustein and Marie
Kolkenbrock sent perceptive remarks on a chapter-​in-​progress. Barry Windeatt
shared literature on gesture. Christopher Johnson provided a warm welcome to
his gesture workshop at the Warburg Institute in December 2016. I am grateful
to colleagues and friends who invited me to present aspects of my research on
this book at conferences and lecture series in Germany, the United Kingdom,
Ireland, and Poland: Carolin Duttlinger, Sabine Huschka, Benjamin Schofield,
xvi

xiv A cknowledgments

Clare Foster, Yvonne Hardt, Nikolaus Müller-​ Schöll, Sabine Egger, Nina
Tolksdorf, Mona de Weerdt and Andreas Schwab, Georgina Born, Christopher
Haworth, and Jonas Tinius, Deborah Holmes and Heide Kunzelmann, and
Joanna Szymajda and Wojciech Klimczyk.
I would like to extend my thanks to the director and staff at Deutsches
Tanzarchiv Köln, Frank-​ Manuel Peter, Donatella Cacciola, Bettina Hesse,
Christel Dreiling, and Garnet Schuldt-​Hiddemann; to Hedwig Müller at the
Theaterwissenschaftliche Sammlung Schloss Wahn; and to the staff at the archives
of the Akademie der Künste and the Lipperheidesche Kostümbibliothek, Berlin.
Earlier versions of two chapters have been published elsewhere: ­chapter 2
appeared in Dance Research Journal 47, no. 2 (2015), and parts of ­chapter 3 in
Franz Kafka in Context, edited by Carolin Duttlinger (Cambridge University
Press, 2017). I wish to thank the editors of these publications for permission
to reprint here. I am grateful to the Alexander von Humboldt Foundation for
offering me a Fellowship during which I began my research toward this book.
At Cambridge I owe thanks to the directors of the German Endowment Fund
and the Schröder Fund, and to Emmanuel College. At Oxford University Press,
heartfelt thanks go to my anonymous readers, to Norman Hirschy and Lauralee
Yeary, and to Christina Nisha Paul.
Finally, I wish to thank my parents and mother-​in-​law, for their unstinting
help with the running of life between work and family. Above all, I wish to
thank Jens and Lisa Antonia.
xv

ABBREVIATIONS

AdK Akademie der Künste Berlin

AS Rancière, Aisthesis
DTK Deutsches Tanzarchiv Köln
GS Benjamin, Gesammelte Schriften
IS Castoriadis, The Imaginary Institution of Society
LC Plessner, The Limits of Community
MM Freud, The Moses of Michelangelo
NG Agamben, “Notes on Gesture”
OT Benjamin, The Origin of German Tragic Drama
PH Plessner, “Zur Geschichtsphilosophie der bildenden Kunst seit Renaissance
und Reformation”
PM Adorno, Philosophy of New Music
SH Freud and Breuer, Studies in Hysteria
SP Rivière, “Le Sacre du printemps”
SW Benjamin, Selected Writings
VM Balázs, “Visible Man or the Culture of Film”

Where not otherwise stated, translations of passages from Benjamin’s

Gesammelte Schriften and of other texts of which no official translations exist
are my own.
xvi
1

Prologue
Inaugurating Gestures—​Le Sacre du printemps

On 29 May 1913, Le Sacre du printemps (The Rite of Spring) premièred at

the Théâtre des Champs-​Élysées in Paris. The piece is nearly plotless: an ar-
chaic community gathers to conduct its annually recurring fertility cult,
culminating in the selection and sacrifice of a young girl who dances herself
to death. The collaboration between composer Igor Stravinsky, choreographer
Vaslav Nijinsky, painter and archaeologist Nicholas Roerich, and impresario
Sergey Diaghilev created a scandal. Staged in a recently finished theater that
had been built for the purpose of providing contemporary trends in music
and performing arts with a dedicated space, the performance famously ended
in riot. Yet once the sensationalist waves of the social event had receded, it
was hailed as the first post-​Impressionist masterwork.1 Soon it would become
one of modernism’s most powerful legends. Combining a viscerally brutal
score with primitivistic stage décor and a new language of movement, Sacre
touched a nerve among the excitable cultural elite. Despite its enduring im-
pact, it was performed only nine times in its first iteration: after five evenings
at the Champs-​Élysées, it was shown four times at the Theatre Royal, Drury
Lane, in London, where the curtain fell after a final performance on 23 July
1913. Nijinsky never notated the choreography. It is well documented, however,
that he was adamant to continue on his course of radical modernism against
the will of his impresario.2 When on tour in South America during autumn of
that year, he announced his surprise marriage to Romola de Pulszky. Diaghilev
dismissed his star dancer from the Ballets Russes; half a year later, the First
World War broke out, severely affecting the company’s operations. Nijinsky
was interned in Hungary and unable to continue work with the troupe that he
had, by this point, founded. He returned to the Ballets Russes a couple of times
for performances in North America and Spain before retreating, in 1919, into
2

2 P rologue : I naugurating G estures

an increasingly private life marked by mental illness. On 15 December 1920,

Sacre premièred again at the Théâtre des Champs-​Élysées, in a new staging
with choreography by Léonide Massine.3 It was this version that finally entered
the repertoire of the Ballets Russes, the first in a long row of restagings and
adaptations that continue to this day.4
This Prologue engages with The Rite of Spring as a gestural event. It argues
that the piece and its surrounding discourses inaugurate a cultural imaginary
that explores choreographic gesture as a prime site of aesthetic, social, political,
and ethical reflection. At the beginning of the twentieth century, the meaning
of gesture exceeds its association with the unintentional gesticulation that
accompanies speech. As a somatic reaction, but even more so as an element
of self-​reflective or expressive bodily performance, gesture enters thought, and
becomes itself a performance of critical thinking and agency. It does so both
theoretically and choreographically, in discourse and on stage, but it also acts as
a relay between the discursive and the corporeal, forming the means by which
a thinking body articulates itself. Dance takes on a leading function in this en-
deavor. Arriving after Isadora Duncan, Ruth St. Denis, Maud Allan, and others,
Nijinsky is not the first one to engage with the new gesturality that takes hold
of the field of movement. His choreography for The Rite of Spring, however,
due to its extraordinary collaborators, the sheer scale of its production, and the
exposure it received as part of the repertory of the most famous ballet com-
pany at the time, crystallizes the early twentieth-​century explosion of gestural
discourse and performance. In this book, Sacre is considered a primal scene of
modernist gesturality: it is the moment at which the revolutionary power and
conceptual reach of gesture become discernible.5
The following will investigate Sacre’s gesturality in a triangular reading,
juxtaposing an analysis of the historical performance with two signature texts
on the piece: Theodor W. Adorno’s chapter on Stravinsky in his 1949 Philosophie
der neuen Musik (Philosophy of New Music), and Jacques Rivière’s essay on the
original production, published in La Nouvelle Revue Française in November
1913.6 Both texts are also key documents of gestural theory. While Adorno
develops an intensely anti-​gestural argument with regard to Stravinsky’s mu-
sical aesthetic, Rivière celebrates Nijinsky’s choreography as a technique that
excavates movement’s gestural core. The juxtaposition of Adorno’s and Rivière’s
writings carves out a theory of gesture that defines the gestural as a form of in-
terruption of the flows of music and movement. Choreographic gesture is asso-
ciated with a punctuating and punctuated energy that will be further explored
especially in the Introduction, and in ­chapters 2, 3, 5, and 7. In my analysis
of the historical performance of Sacre, I consider punctuation as an aesthetic
strategy of productive impairment that not only manifests, but also critically
exposes the primitivism that is Sacre’s signature trait.
3

Prologue: Inaugurating Gestures 3

ADORNO ON STRAVINSKY: GESTURAL SHOCK

Adorno’s Philosophy of New Music is polemical throughout, yet its second
part, entitled “Stravinsky and the Restoration,” constitutes an outright mani-
festo against the composer. This second part is devised as a counterfoil to the
book’s first part, “Schoenberg and Progress,” setting up a contrast between the
avant-​garde modernism of Arnold Schoenberg’s twelve-​tone technique and
Stravinsky’s “regressive” modernism of rhythmical musical mimesis. Radical
newness, which Adorno associates with Schoenberg’s venturing into fresh
atonal territory, is set against Stravinsky’s return to the ostensibly archaic re-
source of popular musical traditions. In Adorno, Stravinsky’s restorative
inclinations are not only aesthetically doubtful. They are deemed “fundamen-
tally complicitous with the destructive tendencies of the age,” and thus fail on
a political level too.7 Yet despite his preference for Schoenberg, Adorno grants
neither of the two composers the ability to establish a new sense of subjec-
tivity as the ethical instance that might be fully reflective of the twentieth cen-
tury: Schoenberg falls short because his music eventually turns around itself by
fetishizing its own principle of seriality, and Stravinsky because he renounces
the subjective element of melody. The latter, however, remains the persona non
grata of Philosophy of New Music, as Adorno berates him for siding with fascist
ideology, in spite of his liberal roots (see PM, 112).
Philosophy of New Music was published around the first time that Adorno
returned to Germany from American exile. His sense of historical trauma and
his fear of a renewed rise of Nazism amounted to forms of personal involve-
ment that were too acute to allow for a distanced attitude toward a composer
who employed a potentially pre-​fascist aesthetic. Not unlike other contempora-
neous examples of cultural criticism such as Siegfried Kracauer’s From Caligari
to Hitler or Lotte Eisner’s The Haunted Screen, both of which deal with cinema,
Adorno’s treatise formulates a reassessment of modernist aesthetics from a
post-​Holocaust perspective; and it follows an impulse to dismantle ideolog-
ical thinking in early twentieth-​century art that is similarly passionate if less
explicit than that evinced in Kracauer’s and Eisner’s texts.8 In the Stravinsky
chapter, pre-​fascism is traced back to Le Sacre du printemps as a piece of music
that still “resounds with the uproar” (PM, 113) of World War I. In the introduc-
tion of Philosophy of New Music, this psycho-​historical dimension is equally
present: when Adorno talks about dissonance, his use of the concept reaches
beyond the musical paradigm, denoting an existential rift that goes right
across the outside world and into the listeners’ minds for whom it is “intol-
erable” as it speaks of their own situation (PM, 11). Dissonance, in fact, has
certainly entered Adorno’s own discourse in “Stravinsky and the Restoration,”
generating a tormented piece of cultural criticism,9 while his tendency to (a)
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