The daily worker. [volume] (Chicago, Ill.) 1924-1958, 1933-11-17
The World of
the Theatre
BY HAROLD EDGAR
A Good Thing

The German dance group directed
by Kurt JooSs, now appearing at the
Forrest Theatre, is something new In
the way of ballet. Its most success
full subjects are contemporary, and
its tendency is toward the left.
Above all, its collective technique Is
not merely matter Of mechanical
ballet discipline characteristic Of most
professional dance groups, but de-
rives from an actual unity Of spirit,
real connection OF mind and heart,
background and desire. This ballet
is not collection OF individuals
hammered by virtuoso dance d.
rector into an arbitrary form, it is a
real organism whost parts naturally
belong together.
The Jooss Ballet is petit-bourgeois
rather than proietarian in its make
up, and it manifests the qualities of
nearly all such German groups as
well as the shortcomings which are
part Of these qualities. They have
tendencies, humor, q sprightly energy,
an almost milky youthfulness, and
certain good-heartedneSs, which
appears to be combination OF the
charming behavior OF well-brought-
up children, and the shyness that
comes from a lifetime Of lower
middle-class worry. These elements
taken together create very appeal
ing impression, particularly as they
go with quiet intelligence and sin
certify, but they also explain why the
total effect of their work rarely gives
one the sense of strength, Of mill
fancy, of potential revolutionary
power. They explain too why the
actual dance numbers are 8 little
less striking, a little less sharp than
the dancers imagine them to be.
Thus the waltz number Is sweet
without being Glowing, but it is GER
tainly not as Satirical as intended.
The Spanish number, which shows
human spirit Chat Of the infanta)
crushed by Court forInality is sem
timertal rather than significant. And
the number which shows us impress
sions of the big city is witty, color
ful, lively, even touching, but much
more naive than we might suppose.
The most original number, of
course, is The Green Table, the anti
war ballet which has given this group
rencwn In Europe. The first and
last episodes of this piece, showing
the diplomats at their futile debates,
constitute a little masterpiece of
dance design. The movement Is fresh,
the observation delightful, the carl
catJre sound. And much of the war
episodes that follow, showing the
marching Of young troops, the greedy
enthusiasm of the profiteer, the
growth of protest, the development of
hystericai cynicisrn and debauchery,
and with it all, Death sweeping
everything and everyone away with
him, is fascinating and exciting to
watch. Yet the idea Of introducing
Death as a personified figure carry
ing each character away in a dance
isn't altogether consonant with the
modern idiom OF the whole, and
though there is something of tragic
vision in the final effect, one feels
the lack of a truly Transforming con-
ception Of war, new hate or a real
fire of revolutionary understanding
and will.
1t is not enough to show silly dip
lonats, and vulgar roly-poly prof
iteer, and woman crying out against
it all; there must also be a ruthless
clarity, a harsh candor which will
give lightning evidence of their prop
er relation and connection. To put
it badly there is not enough class
consciousness In 1.-THE Green Table"
to make it transcend the realm Of
the now usual propaganda piece
which says no more in the final
analysis than that war is sad and
bad. This middle-class type Of we'll
wishing pacifism, though 1t finds an
unusually talented and sympathetic
expression In this ballet, still re-
mains its integral artistic fault.
For all these reservations, the Jooss
Ballet is decidedly a step in the right
direction almost unique of its kind.
Without having attained the final
degree Of technical perfection, it still
Is free not only of the musty and in
sipid prettiness Of the old ballet or
CARNATIONS, but also of that studio
vigor that twilight sensitivity which
are the mark OF nearly all modern
dancers. People who care for dra-
matte dancing will find enjoyment
in an evening at the Jooss Ballet.