And Duncan biography

No Fixed Points will prepare you for viewing the long -awaited picture, telling the most important about the life of these two incredible women. And if about Duncan in Russia, for obvious reasons, there is a decent amount of literature and information, then the personality of Loy Fuller remains still a little -known general public. Who is Isadora Duncan? From the whole history of any direction of modern dance, whether it is a free dance, a dance-moder, or an expressive dance, only about Duncan we have written books of books and some of her works have been translated.

In the Russian -speaking space, there are no specialists studying the work of Marta Graham, Mary Vigman, or even Maurice Bezhara, but there are several respected researchers according to Duncan. Every year, lectures about it are given around the world, scientific congresses with researchers from around the world are held, and even the dance continues to inspire and excite it.

The Duncanists around the world, of course, is more than Gracists or Fullericists, and her tragic fate still excites the general audience. What is the secret of our love for the one whose dances have little preserved: in the fact that, having fallen in love with Russia and becoming Yesenin’s wife, immediately became a Russian “Dunka”, as the poet affectionately called her, or in the fact that she managed to change the vector of choreography?

Once in the year, Loy Fuller arrived at Avenue Wilje Studio in Paris to see the performance of one young American dancer. She probably received an invitation written by hand: “Miss Duncan will dance to the sounds of harp and flute in his studio in the evening of the next Thursday, and if you feel that seeing this little man dancing against the waves of omnipotent fate is worth 10 francs - why not come.” Or maybe Loy just heard the words of Eugene Career that "the Isadora Duncan dance is no longer entertainment, it is a personal manifestation, as well as a work of art." Two dancers had little in common.

Fuller was known and popular in artistic circles. Duncan enjoyed a tiny success in London, but was practically unknown in Paris, and powered almost a beggarly existence. While Fuller hid a massive case in tons of fabric, Duncan used only the body and protozoa costumes for the dance, avoiding various theatrical excesses, on which Fuller's performances depended.

She could not imagine that this nice girl would overshadow her and her inheritance, and that it is Duncan that would be more associated with new dance and with the assertion of female freedom on stage. Despite the fact that Duncan was considered a revolutionary who had an invaluable influence on the subsequent development of the dance, it was called the "illustrious emulator." Much of what she did was not new.

She was not the first to dance in Greek chitons, in those days it was fashionable: this was how Genevieve Stebbins dressed at his Delsart lectures. Emancipation has already begun to free women from their narrow corsets, which quickly adopted Isadora. Many other dancers also danced with bare legs and bare parts of the body. But her real contribution to the development of modern dance was the discovery of a new motivation for dance.

Duncan grew at the end of the 19th century, when Greek culture was perceived as the highest expression of human existence. The Greeks believed that the mind and body were equal: they eagerly studied gymnastics and art, wanting to develop both intellectually and physically. Duncan combined these Greek ideals with the philosophy of American transcendentalists, in particular with the ideas of Ralph Waldo Emerson, whose work the “nature” of the year will become the formulation of this philosophy.

He believed that nature is a sign of the spiritual - that God exists both in it and in man. Greece Duncan, as Kurstin Lincoln wrote, was a "real expression of California pantheism." She read the work of Walt Whitman and loved to say that her first idea to dance did not come from antiquity, but from the rhythm of waves and winds on the grass. Although the press will later indicate Greece as a source of its inspiration, recalling the similarity of her poses with figures on vases.

But in fact, choreographic vocabulary Duncan was more related to nature and the American madness of delsartism. They often write that Duncan created his new dance as opposed to the classic. Which is actually not entirely correct: the classic ballet in America did not have such powerful roots as in Europe, moreover, only the Balanchin managed to create a real American ballet a little later.

Therefore, the desire to move freely at Duncan did not arise because of hostility to the ballet, moreover, she even tried to go to ballet classes, and watched Anna Pavlova’s work in the year. But then Duncan complained that these strict ballet exercises were repeated thoughtlessly: “This is exactly the opposite of all theories on which I founded my school, where the body becomes a transparent adapter between mind and spirit.” Duncan was born in San Francisco on May 26.After an early divorce, her mother was forced to raise 4 children in poverty, and the youth of Isadora passed in constant movements from the apartment to the apartment.

Isadora's mother adhered to the beliefs that you can sit without bread, but you can’t live without poetry and music. At the age of 11, in fact, having no professional training, Isadora, along with her sister Elizabeth, gave dance lessons to neighboring children, and then the families of wealthy Californians. At 12, she threw school. In the year, the family decided that Isadora should try strength on a professional scene.

The girl spoke to the director of the mobile troupe, but the entrepreneur refused to accept her, telling her mother: "What your daughter does is suitable for the church than for the theater." And yet, in June, Isadora got an engagement in Chicago. She danced, referring to the poster of the “California Favne”, in the Kafushantan “Mazonik Ruf Garden”, speaking with two dances: the first was her composition to the music of “Spring Song” Mendelssohn, the second met the requirement of the entrepreneur, insisting on “something exciting to raise more frills and there were more frills.” These performances did not bring, however, neither satisfaction, nor even livelihoods.

But Daily allowed Duncan to go to London with his troupe. In the year, she leaves the Daily troupe and returns to America, where she acts with a certain success as a “salon soloist”: she began to appear in the living rooms of wealthy ladies from high society, thus earning her living. They invited her to dance in their salons, instructed to dance with their children, and occasionally financed public performances.

However, the full dependence on the rich ladies-patroness could not but burden the girl. Duncan had already developed his view of the art of dance by this time, and what she saw in America did not cause her enthusiasm.

Therefore, she decided to continue both her education and her searches, in Europe. Vanessa Redgrave in the role of Isadora Duncan in the film "Isadora" of the year. The director is Karel Reish at the age of 22, in the year, she, together with her family, got into a ship transporting cattle, and left for England. There, Duncan received a warm welcome among intellectuals, artists and philanthropists.

What she has been looking for in America for so long. An important moment of her life was a trip to Paris in the year when she wrote: “There was not a single monument before which we would not stand in admiration, our young American inspired souls stood in front of the culture, which we tried so hard to find.” He later worked a lot with her, made calligraphic sketches. Later, she will become a muse for many sculptors, in particular, Antoine Burdel captured the dancing Duncan on the bas -relief of the building of the Elisean Field Theater.

Here at the end of the year she entered the troupe of Loy Fuller, who was a huge success in Paris. It was Loy Fuller that contributed to the fact that in Vienna in the year Duncan managed to speak in front of the press and small groups of spectators, mainly from the environment of artistic intelligentsia in the houses of art. However, the first great public success awaited her in Budapest after she left Fuller.

The audience was delighted. In Munich and Berlin, Duncan was shocked by the respect of her intellectuals, which allowed her to enter their circle, which she could not dream about in America. Isadore was flattered that most of the Germans considered her art to grown up, like all developed civilizations, from ancient Greece. She taught German to be able to read German philosophers in the original, and found that pantheism and German natural philosophy were a confirmation of her theories.

Nietzsche’s love for dance, as a metaphor of life, approved her opinion that she was just a part of the selected “supernomings”. She kept a thick volume of his work in her bed throughout her life. Alexander Gross, Hungarian impresario, organized her a concert which was preceded by her lecture on a new dance - “Dance of the Future” in the Urania Theater on April 19. This date is the beginning of the triumphal performances by the artist in Europe: in the cities of Germany for years, again in Vienna, in Paris in Trokadero in the year.

And finally, in December in Russia. The most important event of her life was a meeting with the theater designer and reformer Edward Gordon Craig, from whom she gave birth to a child in the year. She returned to America only in the year, and the second time - a year later after the birth of her son, Patrick, whose father was American entrepreneur Paris Zinger. But American critics wrote that we can hardly call the dance what Duncan performed.

Isadora Duncan and Gordon Craig. The photoreproduction V. after the end of the war, her art and her life changed dramatically. Two of her children tragically died in the year: an event that will forever overshadow her life. Then she gave birth to a child who died an hour after birth. She grown noticeably, stopped taking care of herself, very recovered and began to drink.The girlish innocence, joy and carelessness left her dancing, which became more static.

Being in a difficult financial situation, Duncan continued to perform in different places, and made several touring tours in the United States. In the years, immediately after the wedding with Sergei Yesenin, the dancer was practically spent by her own country for the use of “immoral” costumes and for the sympathy of the Bolsheviks while the anti -communist hysteria captured the nation.

Deprived of America’s citizenship due to marriage with a foreigner, she never returned to her native country. Five years later, in Nice, at the age of 49, she died tragically, being strangled by her scarf, which was stuck in the Bugatti wheel. Isadora Duncan and Sergey Yesenin how did she move? There is only one shooting that captured Duncan without its knowledge in a small village near Moscow in the year, where she performs a number of simple waltz movements.

Although the shots are too fleeting, you can still see that it moves with incredible grace. This is what Ruth Saint-Denim said: “It was impossible for her to use one part of the body without it did not move with others ... if she moved her shoulder, then this movement took place up to the fingers of her leg. It was a pure impulse of movement. " However, she could quite often keep the audience in lifeless tension, just standing without movement for long musical passages.

Karolin Carlson recalled that according to Alvin Nikolai, who saw Duncan on the stage, people sobbed from how she slowly raised her hands upstairs for 20 minutes. Her first school, which was engaged in her sister Elizabeth, opened in Grunwald, near Berlin, in the year; The second-with the financial assistance of Paris Zinger, in Neu, and then in Belva-Sur-Sen, in France, right in front of the First World War; And the third - in Moscow in the year at the invitation of Lunacharsky, where she was promised - but it did not work out - about a thousand students.

They did not take a fee from students. In America, an attempt on the year to establish the “Duncan School for Children of the Working Class” was unsuccessful. The only school that at least somehow survived the Second World War is a school in the Soviet Union, led by Irma Duncan. They say that even the dancers of the big went to her classes. The main principle of learning was "the liberation of the body from all shackles to its natural movement." And the main task is to declare dance with serious art.

Did it affect the artists of other choreography genres? Apparently, so, if in her world tour Anna Pavlova put on a tunic and sandals, popularizing the Duncan style, although her interpretation of such dances was not devoid of a classic straightening.