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Body Awareness in Performer Training: The Hidden Legacy of Gertrud Falke-Heller (1891–1984)

Published online by Cambridge University Press:  02 April 2012

Rebecca Loukes
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Extract

Explaining this work is like trying to explain how a strawberry tastes to someone

who has never tasted a strawberry.

Gertrud Falke-Heller 1980

This statement may resonate with many who practice, teach, or write about dance and movement training and performance, but it is particularly apt in relation to the work of Gertrud Falke-Heller (1891–1984). Her extraordinary career spanned almost sixty years, and she worked with some of the most influential figures in European modern dance and performance, including Rudolph Laban, Mary Wigman, and Kurt Jooss. The training she developed, based mainly on the work of German body awareness pioneer Elsa Gindler (1885–1961), did not have a name, and little documentation about it exists. After an early career as a performer in Hamburg, Falke-Heller taught this form of training for Ballet Jooss at Dartington Hall in the 1930s. She developed her work after World War II with psychiatric patients in a variety of hospitals in England and Scotland and died at her home in London in 1984. In an interview given four years before her death, Falke-Heller lists the following questions and concerns that underpinned her work in the many different contexts to which it has been applied:

The body awareness in the sitting, standing, walking, lying down in all human functioning. What is expressive movement? Where does it start to be really interesting? And where is it empty? Then also the space—the dynamic in the room. That's what I was always interested in from the beginning. (Falke-Heller 1980)

Type
Articles
Information
Dance Research Journal , Volume 39 , Issue 1 , Summer 2007 , pp. 75 - 90
Copyright
Copyright © Congress on Research in Dance 2007

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