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"Grandma always danced": The mime th...

Thornton, Annette.

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"Grandma always danced": The mime theatre of Lotte Goslar.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"Grandma always danced": The mime theatre of Lotte Goslar./
作者:	Thornton, Annette.
面頁冊數:	309 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0425.
Contained By:	Dissertation Abstracts International63-02A.
標題:	Theater. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3043574
ISBN:	0493574050

"Grandma always danced": The mime theatre of Lotte Goslar.
Thornton, Annette.

"Grandma always danced": The mime theatre of Lotte Goslar. - 309 p.

Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0425.

Thesis (Ph.D.)--University of Colorado at Boulder, 2002.

German-born Lotte Goslar (1907–1997) arrived in the United States in late 1936 as a part of Erika Mann's anti-fascist Peppermill Revue. Although the revue disbanded after a short time, Goslar remained in the United States, performing her unique blend of solo dance mime. In 1954, she formed a company, Lotte Goslar's Pantomime Circus, which actively toured both nationally and internationally from 1954–1990. During that time, Goslar was principal performer, director, choreographer, producer, costume designer, chauffeur, and often sandwich-maker for her “raggle-taggle” group of performers.

ISBN: 0493574050Subjects--Topical Terms:

522973
Theater.

"Grandma always danced": The mime theatre of Lotte Goslar.
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500 $a Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0425.
500 $a Director: James M. Symons.
502 $a Thesis (Ph.D.)--University of Colorado at Boulder, 2002.
520 $a German-born Lotte Goslar (1907–1997) arrived in the United States in late 1936 as a part of Erika Mann's anti-fascist Peppermill Revue. Although the revue disbanded after a short time, Goslar remained in the United States, performing her unique blend of solo dance mime. In 1954, she formed a company, Lotte Goslar's Pantomime Circus, which actively toured both nationally and internationally from 1954–1990. During that time, Goslar was principal performer, director, choreographer, producer, costume designer, chauffeur, and often sandwich-maker for her “raggle-taggle” group of performers.
520 $a Despite her long career, Goslar's contribution to mime theatre has not yet been recognized in scholarly literature. This initial study, organized in a chronological manner, is a full-length examination of Goslar's artistic development. From her beginnings in Germany with <italic>Ausdruckstanz</italic> and cabarets, to her tenure with Hollywood's Turnabout Theatre, to the formation of her company from its beginning to its last performance in 1990, this study brings Goslar and her work to the attention of the scholarly community, and gives Goslar the recognition, albeit posthumously, that she deserves. Because her work is difficult to categorize, it is my contention that her unique contributions could fit comfortably into the body of work on mime, dance, and theatre history.
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