Andrea Amort

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Andrea Amort (2016)

Andrea Amort (* 1958 in Linz ) is an Austrian dance critic, dance historian, dramaturge , festival and exhibition curator and non-fiction author.


Andrea Amort studied modern dance and classical ballet with Erika Gangl and Andrei Jerschik in Linz and theater studies at the University of Vienna , where she received her doctorate in philosophy in 1982 with her dissertation The History of Ballet of the Vienna State Opera 1918–1942 .

From 1981 to 2009 she was a dance critic and at times also editor and deputy cultural department head of the Viennese daily newspaper Kurier . She continues to write for international media and specialist magazines.

After completing her teaching activities at the Anton Bruckner Private University in Linz, in 2003 she moved to today's Music and Art Private University of the City of Vienna, formerly the Vienna Conservatory . She has lectures and a. held in London, Oxford and Paris, lectured at the University of Zurich and worked on documentaries. She was a dramaturge at the Deutsche Oper am Rhein and the Tiroler Landestheater, among others, as well as in cooperation with freelance choreographers.

From 2009 to 2013 she worked as a curator for theater, dance and performance on behalf of the City of Vienna. Since 2016, as part of her professorship at the MUK u. a. the estate of the dancer Rosalia Chladek . She was the curator of the dance exhibitions "Alles tanzt. Kosmos Wiener Tanzmoderne" and "Die Spitze tanzt. 150 Years Ballet at the Vienna State Opera" and the additional performative program for the Theatermuseum Wien 2019-2020.

Artistic direction of performance projects and festivals

  • Viennese dance in exile : series of lectures and performances in cooperation and a. with the Kunstverein Alte Schmiede and the Jewish Museum in Vienna since 1998 with a focus on the biographies and works of the dancers and choreographers Hanna Berger, Gertrud Bodenwieser , Magda Brunner-Hoyos, Hilde Holger , Gertrud Kraus, Stella Mann, Hedi Pope, Cilli Wang , Wera Goldman and Shona Dunlop-MacTavish.
  • Dance in Exile : Exhibition in the Austrian Theater Museum, lecture series and dance program in cooperation with the festival & ImPulsTanz in the Vienna Akademietheater with works by Hanna Berger , Gertrud Bodenwieser , Andrei Jerschik and Pola Nirenska.
  • Hanna Berger: Retouchings . Scenic project with works by Nikolaus Adler , Manfred Aichinger , Bernd Roger Bienert , Rose Breuss and Willi Dorner (Festspielhaus St. Pölten, 2006) as well as in the Greenberg Theater, Washington DC (2006), Staatstheater Braunschweig (2008), Theater Odeon, Vienna 2008 , Posthof Linz (2009), ImPulsTanz Festival (2010).
  • Festival Beyond the Waltz , jointly curated with George Jackson, in cooperation with the Austrian Cultural Forum in Washington (2006).
  • Festival touches. Dance before 1938 - dance today. 33 Events, Theater Odeon and other locations, Vienna (2008).
  • Rosalia Chladek Reenacted. Series of performances in March and October 2019 in the Eroica Hall of the Theatermuseum Wien.
  • Bits and Pieces. Series of performances from April 2019 to February 2020 in the exhibition rooms of the show "Alles tanzt. Kosmos Wiener Tanzmoderne" in the Theatermuseum Wien.



Contributions (selection)

  • Viennese dance in exile. Plea for the establishment of a dance archive . In: The Jewish Echo . European forum for culture and politics . No. 55 , October 2006, p. 182-187 .
  • I could imagine a modern dancer who dances on crutches. Notes on the paradigm shift in artistic dance using the example of the dance program in the Vienna theater and cabaret Fledermaus from 1907 to 1913 . In: Michael Buhrs (Ed.): Fledermaus-Cabaret: 1907 to 1913. A total work of art by the Wiener Werkstätte. Literature, music, dance . Brandstätter, Vienna 2007, p. 137-153 .
  • One cannot steal away from the present. Aspects of determining the location of free artistic dance in Vienna . In: gift. Journal for independent theater . July, August, September, 2007, pp. 38-42 .
  • The dancing street. To Rudolf Laban's "Festival of Trades" in 1929 in Vienna . In: Christian Dewald (Ed.): Workers' cinema. Left film culture of the First Republic . Vienna 2007, p. 53-65 .
  • Pounding, whirling, wild drumming. At the reception of the Ballets Russes in Vienna - stations from 1909–1933 . In: Claudia Jeschke, Nicole Haitzinger (Ed.): Swans and Firebirds. The Ballets Russes 1909–1929. Imagery in motion . Henschel, 2009, p. 140-151 .
  • Approaching the (stage) bliss of Grete Wiesenthal on the occasion of the new staging of original dances in Vienna 2007/08 . In: Gabriele Brandstetter , Gunhild Oberzaucher-Schüller (Ed.): Dialect of Viennese Modernism: The dance of Grete Wiesenthal . Kieser, 2009, p. 263-273 .
  • Free dance in Interwar Vienna . In: Deborah Holmes, Lisa Silverman (Eds.): Interwar Vienna. Culture between Tradition and Modernity . Camden House, New York 2009, ISBN 978-1-57113-420-2 , pp. 117-142 .
  • At the turn. On the situation of artistic dance in Vienna around 1930 . In: Wolfgang Kos (Ed.): Battle for the city. Politics, art and everyday life around 1930 . Vienna 2010, p. 259-263 .
  • Independent dancers, creatively usable archives . In: against. The magazine of the Konservatorium Wien University . No. 21 , October 2010, p. 17 ( [PDF]).
  • Expression and seduction. Tilly Losch and Hedy Pfundmayr. Two ballet stars from Vienna in the wake of modernity . In: Monika Faber, Magdalena Vukovic (Ed.): Dance of the hands. Tilly Losch and Hedy Pfundmayr in photographs (1920 to 1935) . New Academic Press, Vienna 2013, ISBN 978-3-7003-1896-5 , pp. 27-42 .
  • Richard Strauss also wanted to renew the dance. How choreographer Heinrich Kröller enforced the Joseph legend in Central Europe from 1921. In: Christiane Mühlegger-Henhapel, Alexandra Steiner-Strauss (ed.): Words sound, tones speak. Richard Strauss and the Opera. Symposium on the occasion of the Richard Strauss exhibition in the Theatermuseum Vienna, 22. – 23. January 2015. Vienna, Holzhausen, 2015, pp. 125–137, ISBN 978-3-902976-55-0 .
  • The Anita Berber Dance Theater. The body as a grimace. In: gift. magazine for free theater. Vienna, 01/2015, pp. 16-19. ISSN  1992-2973 .
  • Pulsing vibrations. Artistic dance in 1020. / Pulsing Vibrations. Creative dance in Leopoldstadt. In: Brigitte Dalinger, Werner Hanak-Lettner, Lisa Noggler (eds.): Paths to pleasure. Entertainment between the Prater and the city / Roads to Leisure. Entertainment between the Prater and the City. Jewish Museum of the City of Vienna, Metroverlag Vienna, 2016, 46-51. ISBN 978-3-99300-262-6
  • Artistic dance and exile: Research and visualization in Austria - attempt at a chronology In: Evelyn Adunka, Primavera Driessen Gruber , Simon Usaty (ed.): Exile research: Austria. Services, deficits & perspectives. Mandelbaum Verlag, Vienna 2018, pp. 341–358. ISBN 978-3-85476-449-6
  • D 'Ora's penchant for capricious dance poses. Five micro-studies. In: Monika Faber, Esther Ruelfs, Magdalena Vukovic (eds.): Make me beautiful, Madame d'Ora. Dora Kallmus. Photographer in Vienna and Paris 1907 - 1957. Vienna, Brandstätter Verlag, 2017, pp. 116 - 127. ISBN 978 3 7106 0221 4
  • The top is dancing. 150 years of ballet at the Vienna State Opera. Eight positions. To the exhibition in the theater museum. In: The top dances. 150 years of ballet at the Vienna State Opera. Edited by Wiener Staatsoper GmbH (Editing by Oliver Graber) with introductory letters from Dominique Meyer and Manuel Legris. Accompanying brochure, 2019, pp. 4-15.

Web links

Individual evidence

  1. ^ A b Andrea Amort, Mimi Wunderer-Gosch (Ed.): Austria dances: history and present. Böhlau, Vienna / Cologne / Weimar 2001, p. 341.
  2. ^ New board of trustees for off-theater and dance. Retrieved May 24, 2011.