Diana Huebert

              DIANA HUEBERT



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THE MODERN DANCE



MODERN DYNAMIC DRAMATIC WHAT CRITICS SAY



DIANA HUEBERT—INDIVIDUALIST

IN NEW AND SIGNIFICANT FORMS OF THE DANCE—THROUGH THE TRADITIONAL TO THE MODERN


• After much American study and teaching in the traditional dance, Miss Huebert arrived at her true medium in the creation of significant modern forms.




• Influenced strongly by the principles of Isadora Duncan, who was personally interested in the aims of the young American, Diana Huebert continued her search for new mediums in Paris in the studio of Raymond Duncan, the brother of Isadora.  After intensive research work with him in the unrivaled Greek system of movement, based upon exhaustive study of the Archaic Greek sculpture and of the Vase Figure Paintings, Miss Huebert performed, at the Theatre Femina in Paris, leading dramatic and character roles in his choro-dramas:  
Prometheus,
 
Antigone,
 
The Seven Against Thebes,
 
Orpheus,
 and 
Les Trois Reves.




• In a visit in the same year to the leading German schools of the modern dance, including The Mary Wigman School in Dresden, The Rudolph von Laban School in Würzburg, with special study at the Böde School in Munich, Miss Huebert absorbed the basic principles of the German modern dance expression.




• The brilliant young modernist, on her return to Chicago in 1927, embodied the widely varied European experiences in new and individual forms through teaching and group production.




• The same year Miss Huebert danced with Ruth St. Denis in New York, and was engaged by Max Reinhardt to perform in his three spectacles:  
A Midsummer Night's Dream,
 
Everyman,
 and 
Danton's Death.
  She was also featured in Gavrilof's Ballet Moderne.




• During the next two years Miss Huebert was featured in her own trio at the Roxy Theatre, and appeared in New York in concert with the Doric Dancers, another group of her creation.




• Diana Huebert was called back to Chicago in 1930 to serve for the next two seasons on the faculty of the Goodman Theatre as instructor of the dance. During this time she arranged the choreography for David Itkin's production of 
Alice In Wonderland,
 dramatized by Alice Gerstenburg, with music by John Alden Carpenter, and given at De Paul University.




• Within the last year Miss Huebert has created an entirely new individual dance cycle, some of which she presented with a group at the Goodman Theatre in May, and others which she performed in an extensive solo concert tour of the resort cities of Michigan this summer.




• These latter concerts included:


Lament
 and 
Unfulfillment,
 which have the tragic strength of Rodin's 
Burghers of Calais.
  
Tanagra
—restrained, poignant, and sculptural in mood.


Modern Diana
—sharply brilliant and architectural.


Revolt.
  A purely creative piece of dynamic and rhythmic sequence, powerfully dramatic and rich in color and quality, accompanied by percussion instruments.


Waltzes of Ravel
—stacatto and lyric comments in movement on Ravel's conceptions of the waltz.




TANAGRA


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WALTZ—SENTIMENTAL


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MODERN DIANA


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REVOLT


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WALTZ—GAY


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LAMENT


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WHAT CRITICS SAY

• A salient figure is Diana Huebert.  Here is the spring of Toledo steel.  With grace, the hint of grandeur.  And feet!  Here the routine calls for a little pas battu en l'air; three crystals on an invisible strand.  Grace she absorbed from Isadora (Duncan), strength from brother Raymond, but before that, four good years of classical ballet.  How could it have been otherwise?

Troy Kinney on The Gavrilof Ballet Moderne, Etcher of Dance Subjects and 
Co-Author of The Danse.


New York Evening Post.




• For the classic type of dance which she has elected to do (1999) Diana Huebert is admirably endowed by Nature and fills the eye pictorially.  The occasion was noteworthy in that it displayed imagination, facility, and sincerity on the part of the dancer.  Youth, freshness and vitality are ever among a dancer's assets.  It would be easy, at any time to look upon the lovely features of Diana Huebert, whose classic head sets regally upon youthful shoulders.  In 'Les Preludes' of Liszt she particularly distinguished herself.

Madeleine Babian.


The Dance Magazine, New York City.




• Miss Huebert's work is remarkable in artistic truth and absolute beauty.  Her performance had so much variety, most unusual in a one-artist program.  There was not a monotonous moment.  Her technique was sure and her emotions beautifully controlled.


The Daily News, Ludington, Mich.  1932.




• The grace and beauty, and beyond that, the understanding with which Diana Huebert executed her dance selections quickly won the devotion of her audience.  Beautiful costumes helped to interpret the spirit of each dance as well as to accentuate the grace of the entertainer.


Record-Eagle, Traverse City, Mich.  1932.




• Miss Huebert has made good use of her extensive studies here and abroad, but not as a copyist.  On her offerings she has placed the stamp of originality.  She can dance; she proves with her every pose and movement a true conception of rhythm; she has feeling, she has expression, she has dramatic ability.

By the Editor.


The Dancing Master, Chicago, III.  1932.





CONCERT ENGAGEMENTS



Miss Huebert is available for Civic, University, or Club performances.  She may be reached thru her manager or at her home.





PROFESSIONAL CLASS



A limited number of earnest students will be accepted for Studio work, with the object of forming a concert ensemble.





DIANA HUEBERT



252 West 60th Place, Chicago, Illinois Wentworth 5653



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