Dionysian Fury and Vibrating Voice: The Physical Performer in Hugo Ball’s Performances and Writings

Abstract

<p>This article concerns Hugo Ball’s artistic practice in performing arts, extending from his prewar years in Expressionist theater to his performances at the Cabaret Voltaire in 1916–1917. In it, I examine how discourses on the crisis of modernity emerge in Ball’s theatrical practice, focusing on the performer’s physical presence in Ball’s performances and theoretical writings. To scrutinize these themes in a wider context of political and cultural discourses on modernity, I discuss the notions conceptualized by Ball and other avant-gardists concerning time and history, illustrating Ball’s view on modernity and German society while providing insight into his performative practice.<br></p>