ABSTRACT
This chapter focuses the dance writer Fritz Bohme recounted the impact of Mary Wigman's first appearance on the Berlin stage in October 1919: They were the first works born of trance that were not an imitation of theatrical ecstasy. Bohme was caught in the ardor of the nascent modernity and, from the end of the war on, ran ceaselessly from one theater to another, chronicling a generation of artists impassioned by the invention of a neuer Tanz. In August 1933, Bohme wrote an article for Kontakt. Korper-Arbeit-Leistung, a magazine that provided professional information in the milieu of body culture. The project of the Nazi dignitaries sought the emergence of a spontaneous art of the masses, and the model with which Bohme responded was half-folkloric and half-modern. It is the only way the 'Bohme case' can reach other shores: those of a cultural history of dance that is also a history of bodies and ideas in the societies.
