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It is the argument of this dissertation that , in the early years of the twentieth century , the Swiss music teacher Emile Jaques -Dalcroze (1865 -1950 ) was the preeminent authority , advocate , and researcher into the following principle : human artistic expression is based on an intrinsic , physical , and visceral bond between performing artists and their work . Furthermore , Dalcroze's work was pivotal to all of the stage -centered arts at the inception of modernism .
Historical acclaim for the initiation and promotion of expression in theatre and dance is accorded to such commonly recognized figures as Konstantin Stanislavski and Rudolf von Laban . However , Russian , German , Swiss , and French sources from that era have revealed that Emile Jaques -Dalcroze and his associates had formulated , established , taught , and widely dispersed his foundational techniques of artistic expression well in advance of the recognized icons of modernism in the theatrical arts .
This work provides evidence that Jaques -Dalcroze was in direct contact with both Laban and Stanislavsky , and contributed materially to the work for which they later became world -renowned .
Unlike many others who shared his quest and passion for expressiveness in the performing arts , Dalcroze's work and insights have been inadequately considered in the chronicles of expressive performance . This dissertation demonstrates that Emile Jaques -Dalcroze should appropriately be seen as the principal source of the methods and theories of the now -celebrated founders of modern performance in the twentieth century : Konstantin Stanislavsky and Rudolf von Laban . |
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