Abstract
In his drama, prose, and poetry, Frank Wedekind often focused on the figure of the dancer. A thematic and formal analysis of the poems “Tingel-Tangel,” “Grand Ecart,” “Modernes Mädchen,” and “Junges Blut” demonstrates how dance and the dancer function for Wedekind as a central way to articulate an experience of modernity rooted in motion and speed. Reading the poems in the context of dance and cabaret traditions reveals how dance gives form to the perceived crisis of modernity, while also providing refuge from it. (KH)
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