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Books : Entertainment : Performing Arts : Dance : Choreographers & Dancers : Duncan, Isadora
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This cultural study of modern dance icon Isadora Duncan is the first to place her within the thought, politics and art of her time. Duncan's dancing earned her international fame and influenced generations of American girls and women, yet the romantic myth that surrounds her has left some questions unanswered: What did her audiences see on stage, and how did they respond? What dreams and fears of theirs did she play out? Why, in short, was Duncan's dancing so compelling? First published in 1995 and now back in print, Done into Dance reveals Duncan enmeshed in social and cultural currents of her time -- the moralism of the Progressive Era, the artistic radicalism of prewar Greenwich Village, the xenophobia of the 1920s, her association with feminism and her racial notion of "Americanness."
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Collected Poems of Sergey Yesenin in English preserves the rhyme and rhythm of the Russian genius contains all his poetry.
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More than two hundred and fifty photographs and works of art, many never seen before, combined with a thoughtful text, offer a vivid portrait of the mother of modern dance and feminist forerunner in the context of her artistic community.
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1928. This is the story of the life of an American dancer, written by one who knew her and called her a friend. Duncan was born in San Francisco and at the age of 25 joined Loie Fuller's dance company, touring Germany where she was acclaimed in Budapest and Vienna. Two years later, she established a dance school for children near Berlin at Gruenwald. In 1921, Duncan was invited to Russia where she opened another dance school in Moscow and married Sergey Yesenin, the Russian poet. Tragically, Duncan was killed in an automobile accident in 1927.
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Describes the life of the modern dancer who created a spontaneous, free-form dance style accompanied by literary readings and non-dance music.
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Three dancers who changed the face of Modern Dance and liberated dancers from ballet’s rigidity to glorify the human body as a scared vessel: Isadora Duncan, 1877-1927, Ruth St. Denis, 1879-1968, and Martha Graham, 1894-1991. From youth, each recognized an organic urge for ecstatic human expression. This book explores their pioneering approaches to spiritual choreography and reveals unkown aspects of their lives and work:* each insisted upon her vision of dance as prayer
* each was a mystic
* each had a profound, personal devotion to the Virgin Mary
* each choreographed work in her honor
* each portrayed the Madonna in dance
* each felt herself to be a priestess of dance
* each worked to establish a school, where dance was the basis for an enlightened life
The book contains quotes about and interviews with these women, including rare materials, restoring the understanding of dance as religious expression and placing these women in their rightful places among spiritual philosophers.
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Long out of print, the three beautiful volumes contained here offer the modern reader a rare opportunity to see Vaslav Nijinsky, Anna Pavlova, and Isadora Duncan through the eyes of their contemporaries and admirers, and to share the excitement they were causing at the height of their careers. Originally published in conjunction with the Ballet Society, founded by George Balanchine and Lincoln Kirstein, the books present essays, reviews, memoirs, photographs, and sketches, many of which are had to find elsewhere. These books are companions to the art of Nijinsky, Pavlova, and Duncan, providing insights that are essential for a complete picture of the dancers’ achievements.Nijinsky:The six appreciations collected here illuminate Nijinsky’s genius and character, and thirty pages of photographs portray his every move and gesture with singular fidelity. This book features Edwin Denby’s famous essay, ”Notes on Nijinsky Photographs,” as well as an intimate account by Robert Edmond Jones of his collaboration with Nijinsky on ”Til Eulenspiegel,” the dancer’s last work before the onset of madness.Pavlova: This volume captures the intangible personal qualities that made Anna Pavlova one of the most charismatic ballerinas of all time. An autobiographical sketch, ”Pages of My Life,” reveals her intense striving for perfection. Following this are excerpts from Carl Van Vechten’s critique on Pavlova’s performance at the Met—the first major study of the Russian dance in the United States. Finally, the brilliant commentary by poet Marianne Moore that accompanies photographs of Pavlova aids the reader to reconstruct the unique nature of Pavlova’s style and technique.Isadora Duncan:The career of Isadora Duncan remains, fifty years after her death, one of the indestructible legends of the theater. She is a beacon to women everywhere, to all American dancers, and especially to those who dance solo. Included here are the comments of Carl Van Vechten on the occasion of Isadora Duncan’s first Carnegie Hall concert. John Martin analyzes her style and contribution to dancing. A poem by Gordon Braig and a memoir by Allan Ross Macdougall, who worked with Duncan, bring the incandescent Isadora to stunning life.
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