ISADORA DUNCAN: HER LXEE, WORK and Cofftributicn to WESTEFN THEATRE DANCE
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ISADORA DUNCAN: HER LXEE, WORK AND COffTRIBUTICN TO WESTEFN THEATRE DANCE b y June Lay son, Cert.Ed, D.A.S.E., M.Ed. Submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Leeds February 1987 ABSTRACT Isadora Duncan (b.1877 d.1927) is acknowledged as one of the main founders of the modern dance theatre genre yet her choreography per se is both unresearched and generally dismissed. On the basis of a working hypothesis, that Duncan had a consistent set of values which underpinned her work and were manifest in her choreography, Duncan's life and work is examined and her particular innovations identified. A specifically devised methodology is employed which, in its successive stages, compensates for the lack of extant Duncan dances and allows the discussion of her work to be undertaken. Firstly, a comprehensive collection of written, visual and aural materials is collated. Secondly, a chronology and two choreochronicles are presented. These first two stages provide the documentary basis for the study, generate the descriptive source materials from which it is possible to gain access to Duncan's choreography and promote the discussion of the contexts of her life and the influences upon her work. Thirdly, a choreographic analysis is carried out on Duncan's oeuvre. Fourthly, the results of the analysis are studied in conjunction with Duncan's own writings. Duncan is found to have made several important innovations. Her reverence of the body and all "natural" phenomena, her confident relocation of the body "centre" along with her willing acceptance and exploitation of gravitational forces are seen to be fundamental factors in her work. Her allegiance to a classical Greek-derived set and costume, preference for the music of the Romantic classical composers as accompaniment, commitment to an eclectic range of subject matter (with p>articular emphasis on socially relevant themes) and her pursuit of a harmonious, lyrical style are identified and discussed as crucial elements in Duncan's overall vision of dance as expression. Finally, Duncan's contribution to the founding and development of modem dance as an alternative theatre d^nry genre to ballet is characterised and her overall contribution to the evolution of Western theatre dance stated. Acknowledgements Part-time research involves a long span of time and during the study period many people influence the outcome. I would specially like to thank my University of Leeds and University of Surrey postgraduate students (1971-81, 1981-6) for many hours of lively debate on various issues in the study o f da n c e . I am particularly indebted to my colleague, Janet Adshead, for much stimulating discussion and critical help in the writing of this study. TABLE OF OGNTHnS P a g e no. INTHXOCnCN 1 PART I SOURCE BURIALS 7 Introduction to Part 1 8 Chapter 1 Written sources cn Duncan- a categorisation, overview and discussion 10 1.1 Introduction 10 1.2 Categorisation, overview and discussion of written sources 10 1.3 Surma ry 43 Chapter 2 Visual and aural sources on Duncan- a categorisation, overview and discussion 47 2.1 Introduction 47 2.2 Categorisation, overview and discussion of visual and aural sources 48 2.3 Summary 74 Stannary of Part 1 78 PART II ISADORA DUNCAN: HER LIFE 80 Introduction to Part 11 81 Chapter 3 Outline chronology of Duncan's life and career as a choreographer and dancer 84 3.1 Introduction 84 3.2 May 1877-mid 1897. Childhood and early care e r 85 3.3 Mid 1897-July 1900. First and second visits to London 86 3.4 July 1900-December 1904. Career launched. First school opened. Visit to St. Petersburg 90 3.5 January 1905-March 1913. Career established and consolidated. Return to USA. Birth of children. 94 3.6 April 1913-July 1921. Death of children. 1914-18 war. Return to California. South American tour. London season. Invitation from Russian Government. 99 3.7 July 1921-September 1927. Moscowschool established. Final USA tour. Extensive tours of Russia. Career decline. Death 103 3.8 Surma ry 108 Chapter 4 The cultural contexts of Duncan's life and work and the people who influenced her 112 4.1 Introduction 112 4.2 Cultural contexts 113 4.3 Influences 124 4.4 Sunmary 134 V Chapter 5 Duncan's dances and performances 139 5.1 Introduction 139 5.2 Choreographic output 140 5.3 Choice of acccnpaniment 151 5.4 Repertoire 156 5.5 Programmes 159 5.6 Summary 165 Sramary of Part 11 170 PART III ISADORA DUNCAN: HER WORK 172 Introduction to Bart 111 173 Chapter 6 The glorification of the body: the movement basis of Duncan's dances 175 6.1 Introduction 175 6.2 Attitudes to the body 176 6.3 Principles of movement 180 6.4 Movement guidelines 186 6.5 Sunmary 194 Chapter 7 The pursuit of harmony: the structures that typify Duncan's choreography 197 7.1 Introduction 197 7.2 Structural components 200 7.3 Form 217 7.4 Sunmary 231 Chapter 8 The radioed, message: Duncan's subject matter and meanings 235 8.1 Introduction 235 8.2 Duncan's subject matter 236 8.3 Four exemplar dances 248 8.4 The radical qualities and meanings of Duncan's dances 264 8.5 Sunmary 267 Sunnary of Part 111 270 PART IV ISADORA DUNCAN: HER OGNTRIBUTICN TO WESTEFN THEATRH1ANCE 271 Introduction to Part IV 272 Chapter 9 The pioneer of dance as expression 273 9.1 Introduction 273 9.2 Duncan's life style andher art 273 9.3 Duncan's choreographic style 277 9.4 Duncan's performance style 282 9.5 Duncan's notion of dance as expression 292 9.6 Summary 297 vi Chapter 1 0 A founder of modem dance 299 10.1 Introduction 299 10.2 IXinoan's opposition to ballet 299 10.3 Hie technique basis of Duncan's work 305 10.4 An evaluation of Duncan's choreographic 310 contribution to the founding and development of modern dance 10.5 Hie emergence of an alternative theatre dance genre 313 10.6 Summary 319 Sunnary of Part IV 322 CONCLUSION 323 Appendix A Choreoch roni cle A . Dances choreographed by Isadora Duncan for her own public performance 331 Appendix B Choreochronic le B. Dances choreographed by Isadora Duncan for her pupils' public performance 342 Appendix C Extract from Adshead, J., Briginshaw, V., Hodgens, P. and Huxley, M. (1982) A chart of skills and concepts for dance Journal of Aesthetic Education Vol. 16 no. 3 pp. 49-6 1 348 bieliogeapey 353 vii LIST o f tables Table 1 Categorisation of written sources 11 Table 2 Categorisation of visual and aural sources 49 Table 3 Isadora Duncan (b.1877 d.1927) Number of dances choreographed yearly 145 INTRODUCTION 1 P m CDOCTICM In the last decade or so of the nineteenth century Western theatre dance existed as a very different phenomenon from its present day counterpart. A century ago, instead of the current richness and diversity of numerous interacting genres and styles, the theatre dance of Europe and North America consisted almost entirely of ballet. This genre had lost the creative impetus of the romantic ballet movement and was increasingly displaying signs of sterility. Indeed, as the sole art form of dance in the West, ballet was still a decade away from the Diaghilev-led inspiration and injection of new ideas and half a century away from the dance innovations and influences that films a n d m u s i c a l s w o u l d u s h e r in. There were a few exceptions to the decline in ballet, notably in Russia where it flourished in isolation under Tzarist patronage, but generally it was accorded low status in relation to other art forms. At this time ballet was the province of a few dancers who usually performed alone (althou^i occasionally with a corps de ballet) and appeared mainly in music halls or vaudeville. Ballet was presented to the public either in the form of spectacular shows based on popular themes, as in the productions of the Alhambra and Empire Theatres in London, or as individual acts in the music hall, where displays of technical virtuosity and presentation of a nostalgic prettiness prevailed. It was into this somewhat moribund theatre dance scene that the American born choreographer and dancer, Isadora Duncan (b.l887-d,1927) exploded. She came with an avowed and all-embracing mission to reform and to develop a new and radical theatre dance genre. In the history of dance, as well as in the wider context of the history of art, the name of Isadora Duncan now holds a secure place. Indeed, as Flanner (1927) noted soon after Durcan’s death, throu^iout 2 her life she was referred to, in queen-like fashion, by her first name only. Such a practice reflected both the status and the notoriety accorded her during her life and the use of this appellation has not diminshed with time. Yet although Duncan's place in the annals of dance history is undisputed it conceals a paradox. While she is acknowledged as one of the founders, if not the founder, of modem dance at the same time her work per se is generally dismissed. Djncan is credited with providing a radical and totally new starting point within theatre dance yet simultaneously her choreography is typified as being naive, simplistic and improvised. Furthermore, IXincan's life style, always newsworthy has since her death become the major focus of attention and this has deflected interest away from her choreographic achievements.