Isadora Duncan

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Isadora Duncan about 1906–1912

Angela Isadora Duncan (born May 27, 1877 in San Francisco , USA , † September 14, 1927 in Nice , France ) was an American dancer and choreographer . Duncan pioneered modern expressive symphonic dance , developed a new sense of body and movement that was based on the Greek ideal of beauty , and was the first to perform classical concert music in dance. As an opponent of classical ballet , she tried to revive the dance of antiquity .

Life

Isadora Duncan in 1923 with Sergei Jessenin

Isadora Duncan was the daughter of a from Ireland immigrated to the US family in San Francisco ( California ) to the world. After her parents divorced, Isadora and three siblings grew up with their mother, who worked as a music teacher. The family was poor, but there was a musical atmosphere. In 1899 Isadora returned to Europe with her mother and siblings .

As a twelve-year-old, Isadora Duncan thought marriage was pointless. In her memoirs she later wrote:

“This unjust discrimination against women made a deep impression on me. With my mother's fate in mind, I decided back then to spend my entire life fighting against marriage. I wanted to fight for emancipation , for the right of every woman to have children as she liked ... "

As a child, Isadora Duncan rejected classical ballet and developed her own dance style. At the age of 16 she changed her first name to "Isadora". In Chicago and New York she appeared publicly for the first time with little success. After leaving the USA at the age of 21, Isadora Duncan celebrated her first artistic successes in London . Her ascent continued in Paris and brought her back to Paris via Berlin and Moscow . She toured half of Europe and made guest appearances in the metropolises of South and North America.

Reproduction of a photo in The Interesting Sheet of May 1, 1913, p. 10, caption: "Tragedy of the children of Isadora Duncan: lifting of the automobile sunk in the Seine, with which the two children of Duncan and their teacher were killed."

Together with her sister Elizabeth Duncan (1871–1948), Isadora Duncan founded a boarding school dance school in Berlin-Grunewald in 1904, in which children were trained in their interests for free from an early age. The body, soul and spirit of the students should develop equally. The school later moved to Darmstadt and then to Klessheim Castle near Salzburg . In 1936 the entire institute was relocated to Kaulbachstrasse in Munich . Since 1910 Elizabeth Duncan has been in charge of the school with the support of Max Merz and Gertrud Drück .

Berlin memorial plaque in Berlin-Grunewald

In Berlin, Isadora Duncan fell in love with the British actor, director and set designer Edward Gordon Craig (1872–1966). He became her partner, she settled his old debts and new bills and gave birth to daughter Deirdre in 1906. After a year of liaison she had to let him tell her: "It can't last forever".

When performing, Isadora Duncan cast a spell over her audience from the very first moment. She appeared in front of a large blue stage curtain, stood motionless for a long time, with the first bars of the music approached the ramp more striding than dancing, holding her arms over her head as if to crown it, and waited until she had the audience in her power . She danced without corsets and barefoot as well as in Greco-Roman robes, in a chiton and tunic , which largely revealed the bare arms and legs.

After Gordon Craig, the sewing machine heir Paris Singer (1867–1932) was Isadora Duncan's partner from 1910 to 1913. In the first year of their marriage, Duncan gave birth to their son Patrick in 1910.

In 1913 both children died in a car accident in Paris. Her chauffeur had forgotten to put the handbrake on when he got out to fix the engine stalling in a corner. The car crashed into the Seine and the children and the nanny drowned. After the death of her children, Isadora Duncan began to drink, became plump and lost her external charms. She joked with resignation: “I love potatoes and young men.” Her third child (a son) died shortly after birth. The father was the Italian sculptor Romano Romanelli , with whom Isadora Duncan had a brief affair.

During the time of Rudolf von Laban's “Summer Dance School”, from 1913 to 1918, she stayed on Monte Verità near Ascona . In 1922 Duncan married the 26-year-old Russian poet Sergei Jessenin (1895–1925) in Moscow , who, however, left them in May 1923 after touring the USA and returned to Moscow.

Duncan died in Nice at the age of 50 . As a passenger in an open Amilcar , her silk scarf caught on a wheel of the sports car on the Promenade des Anglais , and she was thrown in the street by the neck, breaking her neck and dying at the scene of the accident. Gertrude Stein is supposed to do this with the frequently quoted saying: "Affectations can be dangerous." ("Affectedness can be dangerous.") Have commented.

Duncan's ashes are buried on the Père Lachaise in Paris , where her children also rest.

Understanding of art

Isadora Duncan in Marseillaise , photograph by Arnold Genthe

Criticism of the ballet

The classical ballet has a long tradition. Originating in the 17th century, a strictly codified movement system has developed over time. Ballet dancers have to align their bodies vertically, turn their legs outward from the hips, and (seemingly) overcome gravity. With dancers, there is also top technology. Isadora Duncan fought against this form of stage dance throughout her life. In 1903 she wrote in her manifesto The Dance of the Future :

"The expression of the modern school of ballet (...) is an expression of degeneration, of living death. All the movements of our modern ballet school are sterile movements because they are unnatural: their purpose is to create the delusion that the law of gravitation does not exist for them. (...) To those who nevertheless still enjoy the movements, for historical or choreographic or whatever other reasons, to those I answer: They see no farther than the skirts and tricots. But look - under the skirts, under the tricots are dancing deformed muscles. Look still farther - underneath the muscles are deformed bones. A deformed skeleton is dancing before you. This deformation through incorrect dress and incorrect movement is the result of the training necessary to the ballet. "

Return to "nature"

Isadora Duncan's criticism was directed not only against ballet, but also against civilization itself: modern man is being alienated from his true nature. With her dance, Duncan sought to return to an unadulterated existence.

Free, uneducated dance movements and people dancing in harmony with themselves and with nature: That was Isadora Duncan's ideal. "I see dance motifs in all things about me. All true dance movements possible to the human body exist primarily in Nature, ” she noted in her essay The Dancer and Nature . This understanding of nature was based on various sources: on ancient Greece, on Renaissance painting , on the art of Auguste Rodin or on the writings of Walt Whitman , Ernst Haeckel and Friedrich Nietzsche . Already here it was not about nature per se, but about certain ideas of "nature". This also included the concept of nudity , which was fed from both ancient Greece and later concepts. Isadora Duncan also developed her concept of nature as a counter-model to ballet and the limitations of civilization: Her views turn out to be a construct closely linked to social discourses.

Dance as "religion"

Isadora Duncan radically rejected Catholicism and all other religious tendencies circulating in her native USA:

“Ever since my earliest childhood, I felt an outspoken aversion to everything connected with the Church and Christian pomp. Reading the works of Ingersoll and Darwin, as well as the pagan philosophers, only strengthened this antipathy. ” In return, she upgraded the dance to a divine meaning. In her speeches and writings, she described the art of dance with words such as “divine”, “holy” and “religious”. So she said in Berlin in 1903: "Dancing is the ritual of the religion of physical beauty." For Isadora Duncan, dance and art in general took the place of Christian worship. This understanding of religion is based on the philosophical and artistic understanding of the late 19th century. Richard Wagner , Friedrich Nietzsche and Auguste Rodin, among others , spoke out in favor of shifting religious values ​​to art and artistically active people. Isadora Duncan herself relied largely on Nietzsche. He had harshly criticized Christianity. His aphorism God is dead has become a common saying. He also declared art to be an effective substitute religion. In The Joyful Science it says: “[I] don't know what a philosopher's mind would want to be more than a good dancer. Dance is his ideal, also his art, ultimately his only piety, his 'worship' ... ” Isadora Duncan read Nietzsche's writings, was inspired by his views and described him as one of the “ greatest seers of humanity ”.

Reference to ancient Greece

Isadora Duncan dancing in the Dionysus Theater in Athens. Photography: Raymond Duncan, 1903

Isadora Duncan linked her ideals of a nature-oriented and religious dance inseparably with antiquity . In the cultural assets of ancient Greece , she believed that she had discovered decisive models for natural dance movements and natural dancers' bodies. She borrowed her characteristic costumes from ancient clothing: She preferred light and loose tunics, did not wear a corset and danced with bare legs and feet. Furthermore, Dionysus , the Greek god of wine, nature and ecstasy, was a symbol of unleashed and uninhibited dance. Sacred values ​​should also be effectively expressed through the return to antiquity. Isadora Duncan tried to harness the fundamentals of the past for her own time:

"To return to the dances of the Greeks would be as impossible as it is unnecessary. We are not Greeks and therefore cannot dance Greek dances. But the dance of the future will have to become again a high religious art as it was with the Greeks. "

Last but not least, the choir of the ancient theater plays a decisive role. “Choir” comes from the Greek word “chorós”, the word for dance or round dance. In performances of ancient dramas, the choir mediated between the events on the stage and the audience. As Isadora Duncan wrote, the choir expressed archetypal facets such as joy, pleasure and pain and directly involved the audience. She also included these historical tasks in her future vision of dance. She found food for thought in Friedrich Nietzsche . Nietzsche already wrote in The Birth of Tragedy about the Dionysian, the ancient choir and the importance of ancient Greece for the present.

Political choreographies

For Isadora Duncan, dance was never just l'art pour l'art . She wanted to change society and initiate reforms. At the same time, specific political visions were bundled in some of her choreographies. In 1915, Isadora Duncan presented her very first choreography in New York with a clear political message: her Marseillaise . In view of the First World War , she wanted to urge the Americans to support their adopted country of France at the time. In 1917 she transferred the Marseillaise to the political situation in Russia and campaigned for the Russian Revolution . She also created her Slavonic March to the music of Peter Tchaikovsky . Here she put herself in the position of the workers and soldiers who revolted against the tsarist government:

"Movements of desperation and indignation had always attracted me the most, and I tried again and again to symbolize the revolution and the violent rebellion of the oppressed against tyranny in my red tunic."

Then in turn she stood up for her native America. In memory of her US tour in 1917, she explained her dances in her memoirs as a symbol of the American way of life: “[I] I saw America dance!” The dance should “strive towards perfection, a new great conception of life through which America became Expression reached ” .

feminism

Isadora Duncan in a Greek pose with a tunic

Isadora Duncan campaigned for feminism and a self-determined life for women from an early age. She grew up at a time when the women's movement was making its first gains. For example, women have had access to higher education and university studies since the late 19th century. In the first decades of the 20th century, the right to vote was added in several European countries . After the First World War , women took off their corsets and moved more freely than in the past.

Current affairs created a framework for Isadora Duncan's self-image. She criticized the current marriage laws, which condemned married women to a largely unlawful existence. In addition, she called for the right to free sexuality. She herself exemplified her worldview to her contemporaries. She gave birth to three children to three different men and was not married to any of them: neither to Edward Gordon Craig, nor to Paris Singer and the sculptor Romano Romanelli. Isadora Duncan's feminist views were also reflected in her dance skills. She saw ballet as a symbol of social and patriarchal restrictions. Free dances committed to the basics of nature should give every woman effective opportunities to free herself from existing constraints:

"She will dance [...] in the form of woman in her greatest and purest expression. She will realize the mission of woman's body and the holiness of all its parts. She will dance the changing life of nature, showing how each part is transformed into the other. From all parts of her body shall shine radiant intelligence, bringing to the world the message of the thoughts and aspirations of thousands of women. She shall dance the freedom of woman. "

Film adaptations

Isadora Duncan . Illustration by Antoine Bourdelle

In 1966, Ken Russell's television film Isadora Duncan was made. The Biggest Dancer in the World . The main roles were played by Vivian Pickles (Isadora Duncan), Peter Bowles (Paris Singer) and Alexei Jawdokimov (Sergei Yessenin).

In 1968 the life story of the dancer was filmed under the title Isadora . Directed by Karel Reisz. Melvyn Bragg and Clive Exton wrote the script, based on Isadora Duncan's memoir and Sewell Stokes' biography, Isadora Duncan. An intimate portrait . Vanessa Redgrave played the title role . Edward Gordon Craig was played by James Fox and Paris Singer by Jason Robards . Zvonimir Črnko was seen as Sergei Yessenin .

1989 came Dan Gellers and Dayna Goldfine's documentary Isadora Duncan. Movements from the Soul . Specially reconstructed Duncan choreographies were presented by Madeleine Lytton, Lori Belilove and ensemble dancers from the Oakland Ballet. Actress Julie Harris was hired as the spokesperson and added excerpts from Isadora Duncan's writings and speeches.

Isadora Duncan appeared as a supporting character in the following films and TV series:

  • Saturday Night Live : American Comedy Show, Season 1 / Episode 15: Jill Clayburgh, Leon Redbone, The Singing Idlers (aired February 28, 1976); Directors: Dave Wilson, Gary Weis, Walter Williams; Isadora Duncan: Jill Clayburgh
  • Tabu (1982): Brazilian music film; Director: Júlio Bressane; Isadora Duncan: Cláudia O'Reilly
  • Esenin (2005): TV miniseries about the life of Sergei Esenin ; Director: Igor Zaytsev; Isadora Duncan: Sean Young
  • The Woman with the Hungry Eyes (2006): Biography about the American silent film diva Theda Bara ; Directed by Hugh Munro Neely; Isadora Duncan: Megan Blanchard
  • Curious and Unusual Deaths : Canadian TV series; Season 2 / Episode 5: Rich and Famous Deaths (aired March 30, 2012); Director: Aaron Woodley; Isadora Duncan: Sherry Garner

In the film Serpico (1973), on the other hand, the main actor, a policeman with artistic ambitions, reads Isadora Duncan's memoirs.

Choreographies about Isadora Duncan

Isadora Duncan . Watercolor over ink drawing by Abraham Walkowitz, around 1915

Some choreographers also paid their respects to Isadora Duncan . Ironically, her work was created for classically trained ballerinas and ballet ensembles: for that area of ​​dance that Isadora Duncan has harshly criticized.

Frederick Ashton choreographed the solo Brahms Waltz to Johannes Brahms ' Waltz Opus 39 (number 15) for Lynn Seymour . This ballet was performed on June 22, 1975 at the Hamburg State Opera. It was later presented in the US under the title Homage to Isadora . In 1976 an expanded version was created for the London Ballet Rambert: Five Brahms Waltzes in the Manner of Isadora Duncan , also for Brahms' Waltz Opus 39 (numbers 1, 2, 8, 10, 13, 15). The premiere took place on June 15, 1976.

Maurice Béjart also brought out his ballet Isadora on December 28, 1976 at the Monte Carlo Opera . Like Isadora Duncan, he used music by Ludwig van Beethoven , Frédéric Chopin , Franz Schubert , Franz Liszt and Johannes Brahms . Maja Plissezkaja danced the title role . In 1983 Béjart developed an alternative variant for Marcia Haydée : first performed on May 28, 1983 in Stuttgart.

Others

Since 2007, the Munich gives Iwanson Sixt Foundation contemporary dance once a year named after Duncan "Isadora Award" for services to contemporary dance .

Choreographies by Isadora Duncan (selection)

Writings of Isadora Duncan

  • A visit to Loie Fuller's. In: Eberhard Gockel, Ulrich Steiner (eds.): Ballett-Journal / Das Tanzarchiv. Newspaper for dance education and ballet theater. 34th year, number 1/1. February 1986, p. 55.
  • Isadora Speaks. Edited by Franklin Rosemont . Charles H. Kerr Publishing Company, San Francisco 1981, ISBN 0-88286-227-8 .
  • "Your Isadora". The Love Story of Isadora Duncan and Gordon Craig. Correspondence. Edited by Francis Steegmuller. Random House , New York 1974, ISBN 0-394-48698-6 .
  • The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969
  • Memoirs. Amalthea Verlag , Zurich / Leipzig / Vienna 1928.
  • The dance of the future. A lecture. E. Diederichs publishing house , Leipzig 1903.
  • I've only danced my life: The Autobiography of Isadora Duncan. Parthas Verlag, Berlin 2015. ISBN 978-3869640983

Secondary literature

  • Fredrika Blair: Isadora. Portrait of the Artist as Woman. McGraw-Hill , New York 1986, ISBN 0-07-005598-X .
  • Colin Chambers: Isadora Duncan: The Necessary Iconoclast. In: ders .: Here We Stand. Politics, Performers and Performance. Paul Robeson, Isadora Duncan and Charlie Chaplin. Nick Hern Books, London 2006, ISBN 1-85459-920-8 , pp. 51-96.
  • Ann Daly: Done into Dance. Isadora Duncan in America. Wesleyan University Press, Middletown / Connecticut 2002, ISBN 0-8195-6560-1 .
  • Ann Daly: Isadora Duncan's Dance Theory. In: Dance Research Journal. Congress on Research in Dance. Year 26; Issue 2/1994, pp. 24-31.
  • Dorée Duncan, Carol Pratl, Cynthia Splatt (Eds.): Life into Art. Isadora Duncan and Her World. WW Norton & Company , New York / London 1993, ISBN 0-393-34642-0 .
  • Sabine Huschka: Isadora Duncan. "The light falling on white flowers". In: dies .: Modern dance. Styles, concepts, utopias. Rowohlt Taschenbuch Verlag , Reinbek 2002, ISBN 3-499-55637-5 , pp. 105-114.
  • Claudia Jeschke: Isadora Duncan in her time. In: Johannes Odenthal (Ed.): Tanz aktuell. Newspaper for dance, dance theater, movement . 10/1990; 5th year / No. VIII, pp. 25–35.
  • Claudia Jeschke, Gabi Vettermann: Isadora Duncan, Berlin and Munich in 1906: Just an Ordinary Year in a Dancer's Career. In: Dance Chronicle. Studies in Dance and the Related Arts. Volume 18; Number 2/1995, pp. 217-229.
  • Peter Kurth: Isadora. A sensational life. Little, Brown and Company , Boston / New York / London 2002, ISBN 0-316-05713-4 .
  • Kimerer L. LaMothe: Isadora Duncan. In: dies .: Nietzsche's Dancers. Isadora Duncan, Martha Graham, and the revaluation of Christian values. Palgrave Macmillan, New York 2006, ISBN 1-4039-6825-X , pp. 107-147.
  • Kimerer L. LaMothe: "A God Dances through Me": Isadora Duncan on Friedrich Nietzsche's Revaluation of Values. In: Journal of Religion. Volume 85, Number 2; April / 2005, pp. 241-266.
  • Kimerer L. LaMothe: Giving Birth to a Dancing Star: Reading Friedrich Nietzsche's Maternal Rhetoric via Isadora Duncan's Dance. In: Soundings. An Interdisciplinary Journal. 86/2003, pp. 351-373.
  • Lillian Loewenthal: The Search for Isadora. The Legend and Legacy of Isadora Duncan. Princeton Book Company, Princeton 1993, ISBN 0-87127-179-6 .
  • Lillian Loewenthal: Isadora Duncan in the Netherlands. In: Dance Chronicle. Studies in Dance and the Related Arts. Volume 2, Number 3; 1979/80, pp. 227-253.
  • Elsemarie Maletzke : Don't call me a dancer! Isadora Duncan and the free dance. In: Ursula May (Ed.): Theater women. Fifteen portraits. Suhrkamp , Frankfurt am Main 1998, ISBN 3-518-39376-6 , pp. 75-90.
  • Sandra Meinzenbach: "Once liberated, the dance will be the great inspirational force among the arts" - Isadora Duncan. In: New old femininity. Images of women and art concepts in free dance: Loïe Fuller, Isadora Duncan and Ruth St. Denis between 1891 and 1934. Tectum, Marburg 2010, ISBN 978-3-8288-2077-7 , pp. 135–222.
  • Sandra Meinzenbach: Between contemporary history, self-assertion and denial. Political gestures in Isadora Duncan's choreographies. In: Veronika Darian (ed.): Restrained eloquence. Politics, Pathos and Philosophy of the Gesture. Peter Lang , Frankfurt am Main 2009, ISBN 978-3-631-59085-0 , pp. 151-162.
  • Christine Morawa: Kaulbachstr. 16 - from the history of the house. In: Michael Kugler (Hrsg.): Elementarer Tanz - Elementare Musik - The Günther School Munich 1924 to 1944 . Schott : Mainz 2002, ISBN 3-7957-0449-9 .
  • Max Niehaus : Isadora Duncan. Triumph and tragedy of a legendary dancer. Heyne, Munich 1992, ISBN 3-453-03031-1 .
  • Frank-Manuel Peter (Ed.): Isadora & Elizabeth Duncan in Deutschland / in Germany. Wienand, Cologne 2000, ISBN 3-87909-645-7 .
  • Jochen Schmidt : "I see America dancing." Isadora Duncan. List Taschenbuch Verlag, Munich 2000, ISBN 3-612-65051-3 .
  • Janine Schulze: Looking for the liberated body: Isadora Duncan. In: Amelie Soyka (Ed.): Dancing and dancing and nothing but dancing. Modern dancers from Josephine Baker to Mary Wigman. AvivA Verlag , Berlin 2004, ISBN 3-932338-22-7 , pp. 21–24.
  • Janine Schulze: "The highest intelligence in the freest body" - femininity concepts in dance. In: dies .: Dancing Bodies Dancing Gender. Dance in the 20th Century from the Perspective of Gender Theory. Edition Ebersbach, Dortmund 1999, ISBN 3-931782-98-0 , pp. 46-85.
  • Elizabeth Souritz: Isadora Duncan and the Prewar Russian Dancemakers. In: Lynn Garafola, Nancy van Norman Baer (eds.): The Ballets Russes and its World. Yale University Press , New Haven / London 1999, ISBN 0-300-06176-5 , pp. 97-115.
  • Elizabeth Souritz: Isadora Duncan's Influence on Dance in Russia. In: Dance Chronicle. Studies in Dance and the Related Arts. Volume 18, Number 2/1995, pp. 281-291.
  • Carola Stern : Isadora Duncan and Sergej Jessenin: The poet and the dancer. Rowohlt , Berlin 1996, ISBN 3-499-22531-X .
  • Sewell Stokes: Isadora. An intimate portrait. Panther, London 1968, ISBN 0-586-02620-7 .
  • Natalia Stüdemann: Dionysus in Sparta. Isadora Duncan in Russia. A story of dance and body. Transcript , Bielefeld 2008, ISBN 978-3-89942-844-5 .
  • Tzaneva, Magdalena (ed.): "Isadora Duncan's dance of the future. Commemorative book for Isadora Duncan's 130th birthday. May 27, 1878 San Francisco-September 14, 1927 Nice." LiDI Europedition, Berlin 2008, ISBN 978-3-940011-99-2 .
  • Ean Wood: Headlong Through Live. The Story of Isadora Duncan. Book Guild Publishing, Sussex 2006, ISBN 1-84624-003-4 .

See also

Individual evidence

  1. ^ Isadora Duncan: I've Only Danced my Life. The autobiography of Isadora Duncan Parthas, Berlin 2016, p. 16.
  2. ↑ Isadora Duncan ( Memento from December 20, 2014 in the Internet Archive ) on ticinarte.ch
  3. ↑ Dancer Dies From Fall; Isadora Duncan Meets Fate . In: Los Angeles Times . September 15, 1927, ISSN  0458-3035 ( latimes.com [accessed August 19, 2017]).
  4. ^ Special Cable To The New York Times: Isadora Duncan, dragged by scarf from auto, killed. Dancer Is Thrown to Road While Riding at Nice and Her Neck Is Broken. In: The New York Times . September 15, 1927, ISSN  0362-4331 ( nytimes.com [accessed August 19, 2017]).
  5. ^ Matt Stone, Preston Lerner: History's Greatest Automotive Mysteries, Myths, and Rumors Revealed: James Dean's Killer Porsche, NASCAR's Fastest Monkey, Bonnie and Clyde's Getaway Car, and More . Motorbooks, 2012, ISBN 978-1-61058-659-7 ( google.de [accessed August 19, 2017]).
  6. ^ Isadora Duncan: The Dance of the Future. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, p. 55.
  7. ↑ Isadora Duncan: The Dancer and Nature. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, ISBN 0-87830-005-8 , p. 69.
  8. ↑ Arnd Krüger : Between sex and selection. Nudism and Naturism in Germany and America. Norbert Finzsch , Hermann Wellenreuther (eds.): Liberalitas: A Festschrift for Erich Angermann (= Transatlantic Studies Vol. 1). Stuttgart: Steiner. 1992, 343-365. https://books.google.de/books?id=cHdS3QcNMcoC&printsec=frontcover&dq=Festschrift+für+erich+angermann&hl=de&sa=X&ei=OfZ1Va-AIOjhywPpwoKQAQ&ved=0CCEQ6AEwAA#v=onich2020=Festschrift%20
  9. ↑ See Ann Daly: Done into Dance. Isadora Duncan in America. Wesleyan University Press, Middletown / Connecticut 2002, ISBN 0-8195-6560-1 , pp. 88ff.
  10. ^ Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 276.
  11. ^ Isadora Duncan: I have a will of my own: Address to the Berlin Press Club. In this. Isadora Speaks. Edited by Franklin Rosemont . Charles H. Kerr Publishing Company, San Francisco 1981, ISBN 0-88286-227-8 , p. 33.
  12. ^ Friedrich Nietzsche: The happy science. In: ders .: Complete works. Critical study edition in 15 volumes. Volume 3: Dawn, Idylls from Messina, The happy science. Edited by Giorgio Colli and Mazzino Montinari . Deutscher Taschenbuchverlag, Munich 1999, ISBN 3-423-30153-8 , p. 635.
  13. ↑ See Kimerer L. LaMothe: Isadora Duncan. In this: Nietzsche's Dancers. Isadora Duncan, Martha Graham, and the revaluation of Christian values. Palgrave Macmillan, New York 2006, ISBN 1-4039-6825-X , pp. 107ff; This: "A God Dances through Me": Isadora Duncan on Friedrich Nietzsche's Revaluation of Values. In: Journal of Religion. Volume 85, Number 2; April / 2005, pp. 241-266; This: Giving Birth to a Dancing Star: Reading Friedrich Nietzsche's Maternal Rhetoric via Isadora Duncan's Dance. In: Soundings. An Interdisciplinary Journal. 86/2003, pp. 351-373.
  14. ^ Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 304.
  15. ↑ See Isadora Duncan: The Dance of the Future. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, p. 58.
  16. ↑ Cf. Isadora Duncan in: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, pp. 131, pp. 140.
  17. ^ Isadora Duncan: The Dance of the Future. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, p. 62.
  18. ↑ See Isadora Duncan: The Dance of the Greeks. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, pp. 92ff.
  19. ↑ See Ann Daly: Done into Dance. Isadora Duncan in America. Wesleyan University Press, Middletown / Connecticut 2002, ISBN 0-8195-6560-1 , pp. 178ff; Sandra Meinzenbach: "Once liberated, the dance will be the great inspirational force among the arts" - Isadora Duncan. In: New old femininity. Images of women and art concepts in free dance: Loïe Fuller, Isadora Duncan and Ruth St. Denis between 1891 and 1934. Tectum, Marburg 2010, ISBN 978-3-8288-2077-7 , pp. 198ff; this: between contemporary history, self-assertion and denial. Political gestures in Isadora Duncan's choreographies. In: Veronika Darian (ed.): Restrained eloquence. Politics, Pathos and Philosophy of the Gesture. Peter Lang, Frankfurt am Main 2009, ISBN 978-3-631-59085-0 , p. 151ff.
  20. ↑ See Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 302f.
  21. ^ Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 341.
  22. ^ Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 345.
  23. ^ Isadora Duncan: Memoirs. Amalthea-Verlag, Zurich / Leipzig / Vienna 1928, p. 345.
  24. ↑ See Sandra Meinzenbach: "Once liberated, the dance will be the great inspirational force among the arts" - Isadora Duncan. In: New old femininity. Images of women and art concepts in free dance: Loïe Fuller, Isadora Duncan and Ruth St. Denis between 1891 and 1934. Tectum, Marburg 2010, ISBN 978-3-8288-2077-7 , pp. 152ff.
  25. ↑ See Ann Daly: Done into Dance. Isadora Duncan in America. Wesleyan University Press, Middletown / Connecticut 2002, ISBN 0-8195-6560-1 , p. 156ff; Janine Schulze: "The highest intelligence in the freest body" - femininity concepts in dance. In: dies .: Dancing Bodies Dancing Gender. Dance in the 20th Century from the Perspective of Gender Theory. Edition Ebersbach, Dortmund 1999, ISBN 3-931782-98-0 , p. 51ff.
  26. ^ Isadora Duncan: The Dance of the Future. In: dies .: The Art of the Dance. Edited by Sheldon Cheney. Theater Art Books, New York 1969, p. 63.
  27. ↑ See Isadora Duncan (character) on IMDb

Web links

Commons : Isadora Duncan  - Collection of images, videos and audio files
personal data
SURNAME Duncan, Isadora
ALTERNATIVE NAMES Duncan, Angela Isadora (full name)
BRIEF DESCRIPTION American dancer and choreographer
DATE OF BIRTH May 27, 1877
PLACE OF BIRTH San Francisco , USA
DATE OF DEATH September 14, 1927
Place of death Nice , France