Tag: tanzkostum, tanzköstum, dance costume

Markova as Giselle ca. 1948

Baron (Sterling Henry Nahum) :: Dame Alicia Markova, professional name of Lilian Alicia Marks, English ballerina, 1949. She joined Diaghilev's Ballets Russes in 1924. | src Getty Images
Baron (Sterling Henry Nahum) :: Dame Alicia Markova, professional name of Lilian Alicia Marks, English ballerina, 1947-1948. She joined Diaghilev’s Ballets Russes in 1924. | src Getty Images
Baron (Sterling Henry Nahum) :: Dame Alicia Markova, professional name of Lilian Alicia Marks, English ballerina, 1949. She joined Diaghilev's Ballets Russes in 1924. | src Getty Images
Baron (Sterling Henry Nahum) :: Dame Alicia Markova, professional name of Lilian Alicia Marks, English ballerina, 1949. She joined Diaghilev’s Ballets Russes in 1924. | src Getty Images
Ballet dancer Alicia Markova performs as Giselle in the ballet of the same name. (Photo by © Hulton-Deutsch Collection/CORBIS/Corbis via Getty Images)
Ballet dancer Alicia Markova performs as Giselle in the ballet of the same name, 1948-1949. Uncredited photographer on source. Most probably photographed by Baron. | src Getty Images

Albertina Rasch Girls Rio Rita

Albertina Rasch Dance Group in costume for Rio Rita (1927). Photographed by Alfred Cheney Johnson.
Albertina Rasch Dancers in costume for Rio Rita (1927). Photographed by Alfred Cheney Johnson.
Albertina Rasch Dancers in costume for Rio Rita (1927). Photographed by Alfred Cheney Johnson.
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, wearing Mexican-style costumes, in the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, wearing Mexican-style costumes, in the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, wearing Mexican-style costumes, in the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)
The Albertina Rasch Girls, sixteen ballet dancers, standing on point, wearing white ballet costumes, for the production of Rio Rita, at The New Ziegfeld Theater. Published in Vanity Fair, April 1927 (Photo by Florence Vandamm / Condé Nast / Getty Images)

Der Tanz by Anny Heimann

Anny Heimann, Berlin, Tänzerin, 1900s, orientalism, veiled
Anny Heimann, Berlin :: Der Tanz. From: „Die Kunst in der Photographie", 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie”, 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie", 1908
Anny Heimann, Berlin :: Der Tanz. Autotypie. From: „Die Kunst in der Photographie”, 1908

Oggi è domenica dove si va?

Foto di scena tratta da "Oggi è domenica dove si va?", Compagnia Fineschi, Roma 1935. In verso nota ms. "Compagnia Fineschi - aprile 1935" | src Mart ~ Fondo Giannina Censi
Foto di scena tratta da “Oggi è domenica dove si va?”, Compagnia Fineschi, Roma 1935. In verso nota ms. “Compagnia Fineschi – aprile 1935” | src Mart ~ Fondo Giannina Censi
Giannina Censi in costume di scena dello spettacolo "Oggi è domenica dove si va?", Compagnia Fineschi, Roma 1935 di Fot. Macari. Napoli - Roma, 1935 | src Mart ~ Fondo Giannina Censi
Giannina Censi in costume di scena dello spettacolo “Oggi è domenica dove si va?”, Compagnia Fineschi, Roma 1935 di Fot. Macari. Napoli – Roma, 1935 | src Mart ~ Fondo Giannina Censi

Pubblicata in Vaccarino E., (a cura di) Giannina Censi: danzare il futurismo. Milano: Electa; Museo di arte moderna e contemporanea di Trento e Rovereto, 1998, pp. 59 e 60.

Skoronel by Hänse Herrmann

Vera Skoronel, Foto: Hänse Herrmann © Universitätsbibliothek Leipzig | src Georg Kolbe Museum

Organized by Georg Kolbe museum, in the framework of “Die absoluten Tänzerinnen”, available on Spotify (Episode 7)
“Vera Skoronel, a true exceptional talent of modern expressive dance. She was confident, charismatic, her enthusiasm infectious. “Not-to-dance – does that even exist?” she once asked, purely rhetorically, of course.” quoted from source

Hänse Herrmann :: Portät von die Tänzerin und Choreographin Vera Skoronel (1906-1932; eigentlich Vera Laemmel, Vera Lämmel) um 1928. Aufnahme: Hänse Herrmann. Originalaufnahme im Archiv von Ullstein Bild. | src Getty Images

Payne in Confetti (Nelson revue)

Nina Payne (holding a mask) in costume for the Nelson revue “Confetti”, by Studio Manassé (1910s) | src liveinternet.ru
Nina Payne In costume for the Nelson revue “Confetti”, by Hill, ca. 1916 | src HZG
Dancer Nina Payne with a dance mask in the Nelson revue “Confetti”, Nelson Theater Berlin, 1925. Photo: Atelier Binder 1925 (Photo by Atelier Binder) | src Getty Images
Tänzerin Nina Payne (USA) in einer interessanten Tanzmaske in der Nelson-Revue “Confetti”, Nelson Theater Berlinerschienen Nr. 42/1925. Foto: Atelier Binder | src Getty Images
Atelier Manassé :: Nina Payne die amerikanische Tanz-Akrobatin in einem ägyptischen Maskentanz. Revue des Monats B.2, H.8, Juni 1928
Atelier Manassé :: Nina Payne die amerikanische Tanz-Akrobatin in einem ägyptischen Maskentanz. Revue des Monats B.2, H.8, Juni 1928
Atelier Manassé :: Nina Payne die amerikanische Tanz-Akrobatin in einem ägyptischen Maskentanz. Revue des Monats B.2, H.8, Juni 1928
Atelier Manassé :: Nina Payne die amerikanische Tanz-Akrobatin in einem ägyptischen Maskentanz. Revue des Monats B.2, H.8, Juni 1928

Bea Egerváry von Manassé

Atelier Manassé ~ Flexible like a blade made of precious steel (The dancer Rea [sic] Egerváry)
Scherl’s Magazin, Band 5, Heft 12, Dezember 1929
Atelier Manassé ~ Biegsam wie eine Klinge aus edlem Stahl (Die Tänzerin Bea Egerváry)
Scherl’s Magazin, Band 5, Heft 12, Dezember 1929 [full page]

Rigmor Rasmussen (Uhu · 1926)

Madame d’Ora [Dora Kallmus] ~ Die dänische Tänzerin Rigmor Rasmussen. Uhu, Januar 1926, Band 2, Heft 1

Dancers at Trümpy dance school

Alfred Eisenstaedt :: Costumed dancers at Truempy Dance School looking at themselves in studio mirror, Berlin, 1930, for Life Magazine. | src Google Arts & Culture
Alfred Eisenstaedt :: Dancers at Truempy Dance School, Berlin, 1930-1931. | src Google Arts & Culture
Alfred Eisenstaedt :: First lesson at Truempy dance school, Berlin, 1930, printed in 1995. | src Sotheby’s