In beauty I walk
With beauty before me I walk
With beauty behind me I walk
With beauty above me I walk
With beauty around me I walk
It has become beauty again
This
prayer was used by Ms. Saidel to illustrate in movement Duncan's use of Keats
poem about beauty and truth.
Influence of Delsarte's Gestural Language
Posture
Gesture
Vocal Espression
Expressivity
"Living Pictures"
Connection between Movement and Mental Attitude
Principles of Flexibility and Lightness of the Body
Art for art's sake as opposed to what it brings into focus
Body divided in head, torso and limbs = three essences of human behavior (mental, moral, vital)
Action occurred in three corresponding ways: away from the center (eccentric), balanced (normal), and toward the center (concentric).
Law of succession based on Greek statues
Body linked to to points of three-dimensional space: attraction and repulsion, fall and rise, tension and relaxation.
Duncan was also influenced by Stebbins's rules for artistic statue-posing by Watching in a mirror to see if she
could indeed move from pose to pose in a fluid manner "as unaffected as
the subtle evolutions of a serpent.
Tanagra Figures of Isadora Duncan: Guardians of Isadora dancers: Dicki Johnson Macy director
Duncan's Main InterestsLink between the perfectability of the body and the perfectability of the soul
Moral function of art
Various parts of the body express emotions
Duncan made her gestures travel across a stage by means of the simple walks, runs, and skips that came easily to a naturally athletic child, by the jigs and reels her Irish grandmother knew, and by the social dances she studied and taught.
At the core of her art always lay the idea that a Delsartean gymnastics teacher had bluntly expressed in 1889: "Strength at the centre; freedom at the surface."
About the Waltzes
Deborah Jowitt in Images of Isadoe: the Search for Motion, describes the "lovely Brahms waltzes, the Schubert and Chopin pieces" by saying that the basic three-step pattern of the waltz appears in many guises. they pulse in place, rush forward, turning. She adds that "usually it's a very light and lilting thing, done mostly on the toes, but without a trace of stiffness." The robust hop-step-step-step of the polka she completely transformed - sharpening it sometimes by opposition in the arms and body, delivering it with triumphant force (jstore.org)
References
Jowitt, Deborah. Images of Isadora: The Search for MotionAuthor(s): Deborah JowittSource: Dance Research Journal, Vol. 17/18, Vol. 17, no. 2 - Vol. 18, no. 1 (Autumn, 1985 -Spring, 1986), pp. 21-29. Published by: Congress on Research in DanceStable URL: https://www.jstor.org/stable/1478076Accessed: 25-01-2020 18:24 UTC
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