The Green Table - Analysis

Analysis

The inspiration for the dance, originally conceived as a solo, was provided by the medieval "Lubecker Totentanz", a sequence of pictures portraying different types of people dancing with Death. Jooss gave it a contemporary setting and added the political content which reflected his and many artists' concerns during Germany's Weimar Republic.

He then worked closely with the designer, Hein Heckroth, and the composer, Frederick Cohen, to build the piece. Jooss, in fact, advocated a form of dance-theatre, in which the choreography is dramatic and develops from a libretto (often his own).
Choreographer, composer, and designer combine their efforts to produce a coherent work in which all the elements, in harmony with each other, convey the feelings and ideas more powerfully.

This concept of a unified work of art, previously theorized by Richard Wagner and, in the 18th century, by Jean-Georges Noverre, was popular among German artists in the early 20th century.
Examples are found in the visual arts, for instance in the work of George Grosz and the Herzfelde brothers, or in the theatre of Erwin Piscator and his dramaturgical collective.

The Green Table reflects a concern for social issues and the problems of that era (shared by many artists contemporary with Jooss) such as political corruption and militaristic policies.
Its style, with its cutting irony, caricature, and boldness of language, has much in common with Expressionism, which flourished in the first decade of the 20th century. The cynical structure of the dance, for example, is a formal expression of this dry humour: the diplomats repeat their routine with total indifference to the real consequences of their decisions. The seriousness of their discussion is negated by the music that Jooss chose to accompany this scene: a playful tango. He also dressed the characters in masks, which gave them a grotesque look, and created movements that are exaggerations of naturalistic movement, such as gesticulating while talking, or nervously pacing up and down while thinking.

The costumes and props were chosen for their symbolic qualities: a flag for the hopeful soldier, a red dress coupled with a white scarf for the partisan, or the skeleton-like costume of Death.
Jooss mastered the visual outlook of his compositions with great skill; again the scene of The Gentlemen in Black provides an example of how the choreographer directed the audience to focus on a particular point of interest, which may be a dancer located on a higher plane than the rest of the group, or someone keeping still while everybody else is moving (or vice versa), or simply a convergence of the compositional lines.

His use of space for expressive purposes, as well as the foundation of his technique, stemmed from his formative training as Rudolf Laban's student and assistant. Together they explored the interrelation between space and the body, with its various movement qualities reflecting different mental states and feelings. Jooss integrated Laban's findings and his free-style approach to dancing with the discipline of classical ballet training. The result was a new technique that emphasizes the use of the body as an expressive whole.

This technique was to be absorbed and further developed by Jooss' students, among whom were Birgit Cullberg and Pina Bausch.

The Green Table is a mature example of this technique. It uses elements of classical ballet, such as turn-out, demi-pointe, extensions, turns, arabesques, and other ballet steps. However, there is no pointe work or any other feature that could suggest virtuoso display. The gracefulness, elegance, ethereal quality, and other affectations of classical ballet are eliminated.

As with the choreography of Antony Tudor, every step is used, not for its formal look, but for its intrinsic expressive value, and the meaning it conveys is often reinforced by the position of the hands: rather than the relaxed wrists of ballet, Jooss uses stretched palms, fists, reaching hands, and so on. The focus of the dancers also varies, shifting towards the centre of drama, rather than being primarily towards the audience, as in ballet.

The resulting style, called by Jooss "Essentialism", tries to capture the essence of each movement or pose, its inner motivation.
Death, for instance, moves with sharp, direct, string, and angular movements, cutting through space, advancing, or pacing with clockwork regularity. In contrast is the style of the Profiteer: he has a swift and agile way of moving, his back usually curved, his cunning nature further accentuated by the indirectness of his focus and his multidirectional spatial patterns.

Such elements combine to make The Green Table a truly innovative work and the depth and universality of its humanistic content give it a timeless and meaningful quality.