Isadora Duncan | |
|---|---|
 | |
| Born | Angela Isadora Duncan May 26, 1877[a] San Francisco, California, U.S. |
| Died | September 14, 1927 (aged 50)[a] Nice, France |
| Nationality | American, French, Soviet |
| Known for | Dance and choreography |
| Movement | Modern/contemporary dance |
| Spouse | |
| Partner(s) | Edward Gordon Craig Paris Singer Romano Romanelli Mercedes de Acosta |
| Children | 3 |
Angela Isadora Duncan (May 26, 1877 or May 27, 1878[a] – September 14, 1927) was an American-born dancer and choreographer, who was a pioneer of modern contemporary dance, who performed to great acclaim throughout Europe and the US. Born and raised in California, she lived and danced in Western Europe, the US and Soviet Russia from the age of 22. She died when her scarf became entangled in the wheel and axle of the car in which she was travelling in Nice, France.[1]
Angela Isadora Duncan was born in San Francisco, the youngest of the four children of Joseph Charles Duncan (1819–1898), a banker, mining engineer and connoisseur of the arts, and Mary Isadora Gray (1849–1922). Her brothers were Augustin Duncan and Raymond Duncan;[2] her sister, Elizabeth Duncan, was also a dancer.[3][4] Soon after Isadora's birth, her father was found to have been using funds from two banks he had helped set up to finance his private stock speculations. Although he avoided prison time, Isadora's mother (angered over his infidelities as well as the financial scandal) divorced him and from then on, the family struggled with poverty.[2] Joseph Duncan, along with his third wife and their daughter, died in 1898 when the British passenger steamer SS Mohegan ran aground off the coast of Cornwall.[5]
After her parents' divorce,[6] Isadora's mother moved with her family to Oakland, California, where she worked as a seamstress and piano teacher. Isadora attended school from the ages of six to ten, but she dropped out, having found it constricting. She and her three siblings earned money by teaching dance to local children.[2]
In 1896, Duncan became part of Augustin Daly's theater company in New York, but she soon became disillusioned with the form and craved a different environment with less of a hierarchy.[7]
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Duncan's novel approach to dance had been evident since the classes she had taught as a teenager, where she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head".[8] A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.[9] While in New York, Duncan also took some classes with Marie Bonfanti but was quickly disappointed in ballet routine.
Feeling unhappy and unappreciated in America, Duncan moved to London in 1898. She performed in the drawing rooms of the wealthy, taking inspiration from the Greek vases and bas-reliefs in the British Museum.[10][11] The earnings from these engagements enabled her to rent a studio, allowing her to develop her work and create larger performances for the stage.[12] From London, she traveled to Paris, where she was inspired by the Louvre and the Exposition Universelle of 1900 and danced in the salons of Marguerite de Saint-Marceaux and Princesse Edmond de Polignac.[13] In France, as elsewhere, Duncan delighted her audience.[14]
In 1902, Loie Fuller invited Duncan to tour with her. This took Duncan all over Europe as she created new works using her innovative technique,[15] which emphasized natural movement in contrast to the rigidity of traditional ballet.[16] She spent most of the rest of her life touring Europe and the Americas in this fashion.[17] Despite mixed reaction from critics, Duncan became quite popular for her distinctive style and inspired many visual artists, such as Antoine Bourdelle, Dame Laura Knight, Auguste Rodin, Arnold Rönnebeck, André Dunoyer de Segonzac, and Abraham Walkowitz, to create works based on her.[18]
In 1910, Duncan met the occultist Aleister Crowley at a party, an episode recounted by Crowley in his Confessions.[19] He refers to Duncan as "Lavinia King", and used the same invented name for her in his 1929 novel Moonchild (written in 1917). Crowley wrote of Duncan that she "has this gift of gesture in a very high degree. Let the reader study her dancing, if possible in private than in public, and learn the superb 'unconsciousness' – which is magical consciousness – with which she suits the action to the melody."[20] Crowley was, in fact, more attracted to Duncan's bohemian companion Mary Dempsey (a.k.a. Mary D'Este or Desti), with whom he had an affair. Desti had come to Paris in 1901 where she soon met Duncan, and the two became inseparable. Desti, who also appeared in Moonchild (as "Lisa la Giuffria") and became a member of Crowley's occult order,[b] later wrote a memoir of her experiences with Duncan.[21]
In 1911, the French fashion designer Paul Poiret rented a mansion – Pavillon du Butard in La Celle-Saint-Cloud – and threw lavish parties, including one of the more famous grandes fêtes, La fête de Bacchus on June 20, 1912, re-creating the Bacchanalia hosted by Louis XIV at Versailles. Isadora Duncan, wearing a Greek evening gown designed by Poiret,[22] danced on tables among 300 guests; 900 bottles of champagne were consumed until the first light of day.[22]
Duncan disliked the commercial aspects of public performance, such as touring and contracts, because she felt they distracted her from her real mission, namely the creation of beauty and the education of the young.[citation needed] To achieve her mission, she opened schools to teach young women her philosophy of dance. The first was established in 1904 in Berlin-Grunewald, Germany. This institution was the birthplace of the "Isadorables" (Anna, Maria-Theresa, Irma, Liesel, Gretel, and Erika[23]), Duncan's protégées who would continue her legacy.[24] Duncan legally adopted all six girls in 1919, and they took her last name.[25] After about a decade in Berlin, Duncan established a school in Paris that soon closed because of the outbreak of World War I.[26]
In 1914, Duncan moved to the United States and transferred her school there. A townhouse on Gramercy Park was provided for its use, and its studio was nearby, on the northeast corner of 23rd Street and Fourth Avenue (now Park Avenue South).[27] Otto Kahn, the head of Kuhn, Loeb & Co., gave Duncan use of the very modern Century Theatre at West 60th Street and Central Park West for her performances and productions, which included a staging of Oedipus Rex that involved almost all of Duncan's extended entourage and friends.[28] During her time in New York, Duncan posed for studies by the photographer Arnold Genthe.
Duncan had planned to leave the United States in 1915 aboard the RMS Lusitania on its ill-fated voyage, but historians believe her financial situation at the time drove her to choose a more modest crossing.[29] In 1921, Duncan's leftist sympathies took her to the Soviet Union, where she founded a school in Moscow. However, the Soviet government's failure to follow through on promises to support her work caused her to return[when?] to the West and leave the school to her protégée Irma.[30] In 1924, Duncan composed a dance routine called Varshavianka to the tune of the Polish revolutionary song known in English as Whirlwinds of Danger.[31]
Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art.[32] She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature, and natural forces, as well as an approach to the new American athleticism which included skipping, running, jumping, leaping, and tossing.[citation needed] Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance."[33] Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique.
Duncan also cited the sea as an early inspiration for her movement,[34] and she believed movement originated from the solar plexus.[35] Duncan placed an emphasis on "evolutionary" dance motion, insisting that each movement was born from the one that preceded it, that each movement gave rise to the next, and so on in organic succession. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. She said that in order to restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement."[35] She believed dance was meant to encircle all that life had to offer—joy and sadness. Duncan took inspiration from ancient Greece and combined it with a passion for freedom of movement. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not.[36] Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (as shown on photos).[37]
In both professional and private life, Duncan flouted traditional cultural standards.
Duncan bore three children, all out of wedlock. The first two, Deirdre Beatrice (born September 24, 1906), whose father was theatre designer Gordon Craig; and Patrick Augustus (born May 1, 1910),[38] by Paris Singer, one of the many sons of sewing machine magnate Isaac Singer, drowned in the care of their nanny in 1913 when their car went into the River Seine.[38] Following the accident, Duncan spent several months recuperating in Corfu with her brother and sister, then several weeks at the Viareggio seaside resort with the actress Eleonora Duse.
In her autobiography, Duncan relates that in her deep despair over the deaths of her children, she begged a young Italian stranger, the sculptor Romano Romanelli, to sleep with her because she was desperate for another child.[39] She became pregnant and gave birth to a son on August 13, 1914, but he died shortly after birth.[40][41]
When Duncan stayed at the Viareggio seaside resort with Eleonora Duse, Duse had just left a relationship with the rebellious and epicene young feminist Lina Poletti. This fueled speculation as to the nature of Duncan and Duse's relationship, but there has never been any indication that the two were involved romantically.
Duncan was loving by nature and was close to her mother, siblings and all of her male and female friends. [42] Later on, in 1921, after the end of the Russian Revolution, Duncan moved to Moscow, where she met the poet Sergei Yesenin, who was eighteen years her junior. On May 2, 1922, they married, and Yesenin accompanied her on a tour of Europe and the United States. However, the marriage was brief as they grew apart while getting to know each other. In May 1923, Yesenin returned to Moscow. Two years later, on December 28, 1925, he was found dead in his room in the Hotel Angleterre in Leningrad (formerly St Petersburg and Petrograd), in an apparent suicide.[43]
Duncan also had a relationship with the poet and playwright Mercedes de Acosta, as documented in numerous revealing letters they wrote to each other.[44] In one, Duncan wrote, "Mercedes, lead me with your little strong hands and I will follow you – to the top of a mountain. To the end of the world. Wherever you wish."[45]
By the late 1920s, Duncan was so extremely depressed by the deaths of her three young children that her performing career had dwindled. She was also distraught by feeling that she had lost her daughters, some of the Adorables whom she had adopted, to the greedy wiles of the older men they had encountered while touring in the US. She became notorious for her financial woes, scandalous love life and public drunkenness. She spent her final years moving between Paris and the Mediterranean, running up debts at hotels. She spent short periods in apartments rented on her behalf by a decreasing number of friends and supporters, many of whom attempted to assist her in writing an autobiography. They hoped it might be successful enough to support her.[citation needed] Her autobiography My Life was published in 1927 shortly after her death. The Australian composer Percy Grainger called it a "life-enriching masterpiece."[46]
In his book Isadora, An Intimate Portrait, Sewell Stokes, who met Duncan in the last years of her life, described her extravagant waywardness. In a reminiscent sketch, Zelda Fitzgerald wrote how she and her husband, author F. Scott Fitzgerald, sat in a Paris cafe watching a somewhat drunken Duncan. He would speak of how memorable it was, but all that Zelda recalled was that while all eyes were watching Duncan, she was able to steal the salt and pepper shakers from the table.[47]
On September 14, 1927, in Nice, France, Duncan was a passenger in an Amilcar CGSS automobile owned by Benoît Falchetto, a French-Italian mechanic. She wore a long, flowing, hand-painted silk scarf, created by the Russian-born artist Roman Chatov, a gift from her friend Mary Desti, the mother of American filmmaker, Preston Sturges. Desti, who saw Duncan off, had asked her to wear a cape in the open-air vehicle because of the cold weather, but she would agree to wear only the scarf.[48] As they departed, she reportedly said to Desti and some companions, "Adieu, mes amis. Je vais à la gloire! " ("Farewell, my friends. I go to glory!"); but according to the American novelist Glenway Wescott, Desti later told him that Duncan's actual parting words were, "Je vais à l'amour" ("I am off to love"). Desti considered this embarrassing, as it suggested that she and Falchetto were going to her hotel for a tryst.[49][50][51]
Her silk scarf, draped around her neck, became entangled in the wheel well around the open-spoked wheels and rear axle, pulling her from the open car and breaking her neck.[1] Desti said she called out to warn Duncan about the scarf almost immediately after the car left. Desti took Duncan to the hospital, where she was pronounced dead.[48]
As The New York Times noted in its obituary, Duncan "met a tragic death at Nice on the Riviera". "According to dispatches from Nice, Duncan was hurled in an extraordinary manner from an open automobile in which she was riding and instantly killed by the force of her fall to the stone pavement."[52] Other sources noted that she was almost decapitated by the sudden tightening of the scarf around her neck.[53] The accident gave rise to Gertrude Stein's remark that "affectations can be dangerous".[54] At the time of her death, Duncan was a Soviet citizen. Her will was the first of a Soviet citizen to undergo probate in the U.S.[55]
Duncan was cremated, and her ashes were placed next to those of her children[56] in the columbarium at Père Lachaise Cemetery in Paris.[57] On the headstone of her grave is inscribed École du Ballet de l'Opéra de Paris ("Ballet School of the Opera of Paris").
Duncan is known as "The Mother of Dance". While her schools in Europe did not last long, Duncan's work had an impact on the art and her style is still danced based upon the instruction of Maria-Theresa Duncan,[58] Anna Duncan,[59] and Irma Duncan,[60] three of her six adopted daughters. The adoption process was never verified, but all six of Isadora's dancers did change their last name to Duncan.[citation needed] Through her sister, Elizabeth, Duncan's approach was adopted by Jarmila Jeřábková from Prague where her legacy persists.[61] By 1913 she was already being celebrated. When the Théâtre des Champs-Élysées was built, Duncan's likeness was carved in its bas-relief over the entrance by sculptor Antoine Bourdelle and included in painted murals of the nine muses by Maurice Denis in the auditorium. In 1987, she was inducted into the National Museum of Dance and Hall of Fame.
Anna, Lisa,[62] Theresa and Irma, pupils of Isadora Duncan's first school, carried on the aesthetic and pedagogical principles of Isadora's work in New York and Paris. Choreographer and dancer Julia Levien was also instrumental in furthering Duncan's work through the formation of the Duncan Dance Guild in the 1950s and the establishment of the Duncan Centenary Company in 1977.[63]
Another means by which Duncan's dance techniques were carried forth was in the formation of the Isadora Duncan Heritage Society, by Mignon Garland, who had been taught dance by two of Duncan's key students. Garland was such a fan that she later lived in a building erected at the same site and address as Duncan, attached a commemorative plaque near the entrance, which is still there as of 2016[update]. Garland also succeeded in having San Francisco rename an alley on the same block from Adelaide Place to Isadora Duncan Lane.[64][65]
In medicine, the Isadora Duncan Syndrome refers to injury or death consequent to entanglement of neckwear with a wheel or other machinery.[66]
Duncan has attracted literary and artistic attention from the 1920s to the present, in novels, film, ballet, theatre, music, and poetry.
In literature, Duncan is portrayed in:
Among the films featuring Duncan are:
Ballets based on Duncan include:
On the theatre stage, Duncan is portrayed in:
Duncan is featured in music in:
