Birth Chart
Mary Wigman
Karoline Sofie Marie Wiegmann
Sun Scorpio
Moon Gemini
Ascendant Scorpio
Influences in signs
↣ Sun in Scorpio - 20°47' - in house 1
↣ Moon in Gemini - 08°04' - in house 8
↣ Mercury in Sagittarius - 13°16' - in house 2
↣ Venus in Scorpio - 15°52' - in house 1
↣ Mars in Sagittarius - 28°16' - in house 2/3
↣ Jupiter in Libra - 23°41' - in house 12
↣ Saturn in Cancer - 22°27' - in house 9 - retrograde
↣ Uranus in Libra - 10°40' - in house 11/12
↣ Neptune in Taurus - 26°35' - in house 7/8 - retrograde
↣ Pluto in Gemini - 03°18' - in house 8 - retrograde
↣ North Node in Virgo - 03°51' - in house 10 - retrograde
↣ Ascendant in Scorpio - 06°15' - in house 1
↣ Midheaven in Leo - 19°50' - in house 10
↣ Equatorial Ascendant in Scorpio - 24°37'
Influences in houses
↣ Sun in house 1
↣ Moon in house 8
↣ Mercury in house 2
↣ Venus in house 1
↣ Mars in house 2/3
↣ Jupiter in house 12
↣ Saturn in house 9
↣ Uranus in house 11/12
↣ Neptune in house 7/8
↣ Pluto in house 8
↣ North Node in house 10
↣ Ascendant in house 1
↣ Midheaven in house 10
Aspects
↣ Sun and Moon antiparallel
↣ Sun and Venus conjunction (4°55' applying)
↣ Sun and Saturn trine (1°39' applying)
↣ Sun and Neptune opposition (5°47' applying) antiparallel
↣ Sun and Equatorial Ascendant conjunction (3°50' separating)
↣ Sun and Midheaven square (0°57' applying)
↣ Moon and Mercury opposition (5°12' applying)
↣ Moon and Venus antiparallel
↣ Moon and Uranus trine (2°36' applying)
↣ Moon and Neptune parallel
↣ Moon and Pluto conjunction (4°45' separating)
↣ Moon and North Node square (4°13' separating)
↣ Mercury and Mars parallel
↣ Mercury and Uranus sextile (2°37' separating)
↣ Venus and Equatorial Ascendant conjunction (8°45' separating)
↣ Venus and Ascendant conjunction (9°37' applying)
↣ Venus and Midheaven square (3°58' separating) antiparallel
↣ Mars and Jupiter sextile (4°35' separating)
↣ Mars and North Node trine (5°34' applying)
↣ Jupiter and Saturn square (1°14' separating)
↣ Jupiter and Pluto antiparallel
↣ Jupiter and Midheaven sextile (3°51' applying)
↣ Saturn and Neptune sextile (4°08' applying)
↣ Saturn and Equatorial Ascendant trine (2°10' separating)
↣ Neptune and Pluto conjunction (6°43' separating)
↣ Neptune and Equatorial Ascendant opposition (1°58' applying)
↣ Pluto and North Node square (0°33' applying)
↣ Pluto and Equatorial Ascendant opposition (8°41' applying)
↣ North Node and Ascendant sextile (2°24' separating)
Birth data
- Original name
- Karoline Sofie Marie Wiegmann
- Chart date
- 13/11/1886
- Chart time
- 06:00
- Date and time quality
- B Biography/autobiography what does this mean?
- Data origin
- Astro-Databank
- Location
-
Hannover, Germany - Latitude and longitude
- 52°24' North · 9°44' East
- Time zone
- 00:39 East
The data used to calculate the charts comes from public sources, as do the descriptive texts. We use sources such as Wikipedia.
About
Mary Wigman (born Karoline Sofie Marie Wiegmann) was a German choreographer and teacher recognized as one of the founders of expressionist dance and a pioneer of dance therapy. Her career helped establish modern dance in Germany, influencing generations of performers and choreographers through body-based methods that emphasized inner expression and organic movement.
Trained in Émile Jaques-Dalcroze’s rhythmic method and later associated with Rudolf Laban’s theories, Wigman incorporated percussion and non-Western instruments—drums, bells and rhythms from various regions—alongside the use of silence and masks as scenic elements. These choices reflected a search for new dramaturgies of the body and performative languages distant from classical ballet.
Among her best-known works are solos and pieces such as Witch Dance and Festive Rhythm, which exemplify her interest in ritual gesture and intense corporeality. She also worked as an educator, maintaining schools and courses that spread her method and trained important figures in modern dance.
Her legacy spans the twentieth century: in addition to contributing to expressionist aesthetics, Wigman influenced movement-based therapeutic practices and maintained a lasting presence in the historiography of modern dance.
