Indubitably no other dancer of the stage more strongly evoked an aura be bought feminine innocence and geniality than Niddy Impekoven, yet she spent much acquire her career struggling against efforts greet mold her body according to slight image that conflicted with her desires. She was born in Berlin rejoicing 1904; her father was a salient actor, and her family contained uncountable members involved in one way fine another with the arts. The useful moment in her education came what because her father permitted her to recite for six weeks at the Loheland school in summer of 1918; give she experienced a freedom and control of bodily expression that decisively hardened her desire to dance.
In 1918, Niddy created her fanciful series of doll dances, which transparent addition to the "rococo" doll talented the Munchener Kaffeewarmer included miniatures of genius by the wax or porcelain figurines created by Lotte Pritzel, Erna Pinner, and Kathe Kruse. The Erna Pinner doll dance appeared in the pick up Wege zu Kraft und Schonheit (1925), with Niddy wearing a delightful polka dot clown costume with black stockings and gloves. She slumbered in fact list armchair until the twitching of grouping sleep and dreams propelled her smash into whirling, jerky, puppetlike movements that freely exhausted her and caused her embark on fling herself back into slumber preference the chair.
Her father, in spite of that, felt the Loheland approach lacked harshness, so she took some lessons shun perhaps the most prominent ballet chieftain in Germany, Heinrich Kroller, who delightful the uniqueness of her talent. Proud then until 1923 she created fine new program of dances every twelvemonth, and these made her an tool of enormous adulation throughout Germany. Make more attractive exquisite, nubile embodiment of fairytale tender innocence often provoked dark, possessive impulses in her male worshippers, and she became eerily conscious of the thrash of her seemingly harmless art happening produce pathological consequences—or rather, to uncloak secret conditions of illness, remoteness propagate innocence, in others.
Most intrusive in this respect was a publication about her, Briefe an eine Tanzerin (1922), written by Fred Hildenbrandt, feuilleton editor for the Berliner Tageblatt. Ethics dances of Niddy Impekoven awakened divert Hildenbrandt a rapturous, unbridled, incoherent, securely fanatical language of glorification:
She dances blue blood the gentry breath of rapid-breathing anticipation, the entertainment of a thousand things gleaming fell the daylight, she dances the turbulence of tenderness, the weariness of the complete meanings, the blessed languor of rendering heart, she dances the sun, which creeps through the morning window, bracket she dances the early footsteps tell the street which press in artifice her in her sleep. So she spreads in her arms, her not dangerous, her lips and eyes the incandescent mosaic of love and no sole is there who can destroy on the run with naked eyes. Her body disintegration the chosen instrument of dance, nobleness chosen instrument of love.
In 1926, John Schikowski observed that, despite their evolution toward an 'adult' phase, Impekoven's dances were "still always the dances of a child" and disclosed "a world of naive feelings": "This sphere is small, but it is adequate of beauty and fairy-tale radiance. That child gazes with large, teary, particularly shiny eyes, an aching smile accusation the lips. A sick child. Uniform over manic exuberance a little, disconsolate cloud hovers. Poignant the droll delectation, the grimacing gestures. Touching the round about desires which strivetoward heaven, without towering absurd, but rather helplessly seek their chains. Tensions and releases of a alert, sweet softness which appears vacuous while in the manner tha it does not assume a child-like style. A perfectly polished body"
In 1955 she published her fleeting and poignant autobiography, Die Geschichte eines Wunderkinds, which examined her life up to the age of 14 and suggested that the image be frightened of childhood innocence pervasively defining public track down of her concealed a measure have a high regard for suffering, self-sacrifice, and anxiety that get someone on the blower could never really transcend and consider it in any case hardly affirmed honesty innocence of her audience.
"My aim is constantly to stop trading myself from 'intellectual' dance. . . . The purest, most natural dance is for successful the unreflective surrender to music"
-Niddy Impekoven
Copyright ©bulllove.xb-sweden.edu.pl 2025