myself, capturing them in the smallest of nutshells.
instinctively matched the costumes to her maltreated
Only one or two movements were needed in order to
body; they are inextricably part of it.”12
express everything. That was death, humility, love, birth.”9
“She
dances
the
role
of
a procuress.
A pig
of
a woman appears [...], with a long, wide, grass Critics were by no means unanimous in their appraisal
green garment, two blood-red circles on her breasts,
of Valeska Gert’s dancing. For some critics it was
a drunken and slovenly face; it is none other than
a great experience of art,10 while for others what
the old Canaille, now a procuress. This sow waddles
they were seeing and describing was nothing short
along and is looking for something; we do not know
of shocking.11 “The Procuress, a loud face distorted
exactly for what. She is looking for something to
by a terrifying meanness, pushes a lethargic body
spit on and to grab, she is looking for something to
forward with unnerving lust. [...] and, because she
spoil, to lie to and to cheat on.”13
not only dares to expose this ultimate manifestation of
the
all-too-human,
to
extremes,
she
but
appears
shamelessly shocking.
takes [...]
it She
All the critics allude to Valeska Gert’s specific way of holding up a mirror to her spectators, reflecting their bourgeois world. “Valeska Gert comes from beyond— the barrier, the limitations, the provincialism of
Gert 1931, p. 48. Johannes Karl König, Tanzgastspiel Valeska Gert, Stadttheater Würzburg, n.p. n.d. Quoted from: Valeska Gert estate, Stiftung Archiv Akademie der Künste, folder 395. 11 “Valeska Gert Gastspiel im Schauspielhaus,” Düsseldorfer Nachrichten, n.p. n.d. Valeska Gert estate, Stiftung Archiv Akademie der Künste, folder 395. 9
morality. [...] She tears up the trappings and peace of
10
12 13
Ibid. Hildenbrandt 1928, p. 128. 89