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Dance and the City

From a dance perspective these two new books supplement each other neatly. One informs us about the modern dance of Vienna between the World Wars and the other about some of the ballet of that period and place. Both volumes have broader scopes, beyond dance, but these dance aspects deserve particular attention because they have seldom before been written about in English. For the editors of Interwar Vienna, the modern dance was a defining cultural phenomenon of the city as it existed between World Wars I and II, whereas the ballet as such was not. True, prior to 1918 there had already been modern or “free” dance in Vienna—at least its beginnings in performances by both international artists and Vienna’s own. Yet the peak years for dance modernism were the 1920s, and some observers detected decline or dilution even before Austria was joined to Nazi Germany in 1938. On the other hand the Viennese ballet, regardless of its ups and downs, had a continuity that spanned centuries. As the author of the Strauss book makes clear, 1922 to 1928 was an exceptionally active and distinctive period in that tradition. It was the era of Richard Strauss and Franz Schalk as directors of the Vienna Opera, with Heinrich Kroeller as their principal ballet master and choreographer. The only question is how Viennese, as opposed to Ballet