*
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Preface
Love at First Skip
My first introduction to the dance of Isadora Duncan in New York in the early 1980s was love at first skip. In the lyric lift of the knee, the gentle fold of the thigh into the hip with the feet pointing in a perfect perpendicular angle towards the earth, I felt more free, more natural, in touch with "a rhythmic unity that runs through … nature." As the head and torso arc upward, riding buoyantly on the legs, we skipped throughout the studio in rhythmic cadences of time to the music of Chopin and Brahms, bounding upward on the beat and then softly descending to the earth through the ball of the foot. I was transported to the innocence and joy of childhood, to sweet memories of spontaneous laughter, to a time before the responsibilities of adulthood weighed down my spirit. Now nearly 30 years later, the joy of dancing Duncan has not left me, although the lyric skip has given way to the weight and strident urgency of the heroic skip and the more mature dances of Isadora's middle years.
I was drawn to Duncan's philosophy and art in part because it resonated with my own desire to express through dance a vision of a sacred reality that I had glimpsed in transcendent moments of awareness. Clearly, Duncan too had accessed this "inner light" when she wrote like so many great poets and mystics before her of an ineffable, transcendent source of creation and inspiration:
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, For hours, I would stand quite still, my two hands folded between my breasts, covering the solar plexus… I was seeking and finally discovered the central spring of all movement, the crater of motor power, the unity from which all diversions of movement are born, the mirror of vision for the creation of dance. [2]
Vantage Points and Perspectives: Early Modernism,
Post-Modernism,
Interculturalism and Globalization
In the latter part of the 20th century, my dance world was globalized and diverse, a world far removed from the upper class, white EuroAmerican society that Duncan inhabited. American dance was and remains a diverse mix of cultures, ethnicities, and social classes merging and mingling in ballet, samba, jazz, post-modern dance, Bharata Natyam and innumerable other cultural forms. In Northern New Mexico where I was living at the time, my dance world extended to flamenco clubs where I was mesmerized by the passionate performances of the virtuosic dancer Maria Benitez and to the hypnotic Buffalo and Deer dances at the eight Native American pueblos surrounding Santa Fe. I studied devotedly with pioneer modern dancer Eleanor King, a soloist in the original Humphrey- Weidman Company, and attended any and every workshop that came to town---from African to East Indian Kuchipudi. I traveled through this global dance world for years, searching for a form in which I could best express through movement my own longing for connection to a divine source, for a dance form that was deeply humanistic. The post-modernism of the late 70s and early 80s, which rejected the emotional narratives and humanistic concerns of the early moderns, was too cerebral for my nature; I longed to find a form that could serve to unify mind, body, and spirit. While cultural dance forms outside the western canon fascinated me, I always felt too much the "outsider" for the distinctive vocabulary of dance forms of Asia, India, or Africa. I had to look backwards to the roots of modern dance or create my own dance. Like most all modern dancers, I dabbled in choreography as a rite of passage, but inwardly knew that choreography was not my gift.
Isadora's book on the Art of the Dance* had long been a source of inspiration for my own pursuit of the dance, but it was not until I moved to New York in 1981 to pursue a doctorate in dance at New York University that I took my first Duncan class. My mentor Eleanor King urged me to find Julia Levien, a member of the original companies of adopted daughters Anna and Irma Duncan in the 1930s and to take one of her Duncan workshops. The previous year Eleanor, then in her late seventies, had participated in an Early Days of Modern Dance conference on the east coast and ecstatically told me about her inspirational experiences in her first Duncan class with Julia. Eleanor was virtually walking on air as she too had long been inspired by Duncan's writings. Upon arrival in New York, I indeed did find Julia, along with her contemporaries Hortense Kooluris and Anita Zahn and many of their wonderful protégées including fourth generation dancers Lori Belilove, Beth Jucovy, and Adrienne Ramm with whom I studied and performed over the years. Lori Belilove and I developed a relationship where we began to collaborate in a variety of ways and performed as guests in one another's concerts. Other long-time Duncan dancers, including Jeanne Bresciani, Catherine Gallant, Kathleen Quinlan-Zetterberg, and Elisabeth Schwartz, were working in New York around that time as well. Over the past 30 plus years, they have all maintained their commitment to the Duncan work and greatly contributed to maintaining the legacy in their own unique ways.
Evolution ofa Dance Company: The Isadora Duncan Dance Ensemble
I never intended to form a company of dancers or to end it; rather the Isadora Duncan Dance Ensemble, as it came to be called, had an organic life of its own. As dancers, we were all passionately committed to doing the work, but I initially had little interest in immersing myself in the bureaucracy and administrative duties of a dance company director. However, numerous unsolicited prestigious invitations to perform and the enthusiastic support and encouragement of fellow dancers, critics, and audiences over the years propelled us to develop and grow each year. Many of the original, long-time members of the company-to-be, were 12 and 13 years old when they first premiered Isadora's youthful "Schubert Waltzes" at the University of Miami's Gusman Concert Hall in 1990 in a primarily solo/duet concert that I produced with Lori Belilove appearing as a guest artist. Auspiciously, the young girls were the same age as Isadora's teenage company members, fondly dubbed "The Isadorables" by the press, when they made their debut with the Schubert Waltzes in the early 1920s.
After seeing the Gusman performance in 1990, Laurie Horn, dance critic for The Miami Herald at that time, wrote that the young girls "mesmerized the eye and enchanted the heart";* thereafter, she referred to them as "Miami's Isadorables." In 1991, during a winter visit to Miami, Julia saw these young girls perform and was impressed by the buoyant enthusiasm and lyrical expressiveness of the group. The following year and for the next fifteen years, she devotedly traveled to Miami during the winter months to work with us as artistic advisor to the young company.
Early portrait of original Isadora Duncan Dance Ensemble, 1992. Vizcaya Museum and Gardens, Miami, Florida. Back row, left to right: Michelle Vazquez, Karen Matthews, Tamara Welch. Front row, left to right: Tatiana Castro, Nikki Anaya. Courtesy of photographer Tobi Mansfield.
As the girls matured and were no longer young enough to be "adorable," the dancers took on new, increasingly mature roles each year, and new girls joined until eventually we developed enough repertory to fill an evening. Throughout the years of the company, I was blessed to have so many of the original 12- and 13-year-old dancers remain in the company until well into their mid-30s.
An unexpected invitation to perform abroad in the Internationales Tanzfestival in Germany titled "From Isadora to Pina" solidified us as an ongoing troupe and garnered critical acclaim beyond our local community. Jochen Schmidt, a well-known German artistic director who had seen me perform in China, invited me to present a solo evening of Isadora's work to open the festival. As I was hesitant to do an all-solo evening, I informed him that I had been training a troupe of young dancers and asked if he would be interested in bringing them to Germany as well. Jochen flew to Miami to watch a studio performance at New World School of the Arts where the original girls were all now high school students in the Dance Division. Promptly thereafter, he invited the Ensemble to participate in the festival, which toured to numerous cities in Germany, including Wuppertal, the artistic home of Pina Bausch. Jochen later published a well- regarded book on Isadora entitled Ich Sehe Amerika Tanzen, originally published in German. [7]
Over the next decade, we presented well-received programs at NYC Lincoln Center Festival Out-of-Doors; the Kennedy Center, Washington, D.C.; the Goethe Festival in St. Petersburg, Russia; the Florida Dance Festival, festivals in Latin America including the International Festival de las Mujeres en la Danza in Quito, Ecuador, among numerous other venues that continued to propel us from year to year. Eventually, several of the long-time members took on important administrative and co-artistic roles, assisting with production, administration, costuming, and the rehearsal/ reconstruction process, which helped sustain me through numerous administrative travails.
Preservation, Documentation and Re/construction
To help ensure the perpetuation of Duncan's legacy, Julia Levien and I
co-produced and directed the videotape/DVD, Isadora Duncan Technique and
Repertory* in 1994, and Ms. Levien authored the companion book Duncan Dance: A
Guide for Young People,' both widely distributed by Dance Horizons/Princeton
Book Company. In 2008, I produced a second DVD of the more mature dances,
Isadora Duncan Masterworks:
1905-1923,10 also distributed by Dance
Horizons/Princeton Book Company.
Cover photo of Isadora Duncan Dance Ensemble Isadora Duncan Technique and Repertorydistributed by Dance Horizons/ Princeton Book Company, 1994. Back row left to right: Tatiana Castro, Maribel Gonzalez (arm extended up), Nikki Anaya, Nikki Rollason, Karen Matthews (arching back, arm on fountain), Stephanie Bastos. Front, bending over: Tamara Welch, Cynthia Gonzalez. Courtesy of photographer Tobi Mansfield.
Now, 35 years have passed since I first began my studies of Duncan dance. While the DVDs we produced capture some of our contributions to Duncan's legacy of technique and repertory, there is a wealth of knowledge that underlies each gesture, phrase, and performing moment that cannot be captured or understood in a few, hour-long DVDs. This book then, as an exposition of both the internal and external process of reconstructing, teaching, rehearsing, and performing the repertory and technique, serves in part as a supplement to the DVDs and other available books, films and videos related to Duncan's work. More broadly, the book's aim is to shed deeper light on the fundamental principles of Isadora's art as performed more than 100 years later, particularly as it relates to the emotional and psychological aspects of performing the work and on the state of the art of Duncan dance in the 21st century.
Duncan defined her theory of the dance as "the art that gives expression to the human soul through movement, but also the foundation of a complete conception oflife, more free, more harmonious, more natural." The book articulates not only the process of directing and sustaining the Isadora Duncan Dance Ensemble, but also our efforts to implement these philosophical ideals in both the performances and everyday life so that art and life would merge.
While Duncan in her lifetime clearly rejected any system or codification for dance training, it is clear from the work and knowledge of her disciples that Isadora had a methodology and technique that could be transmitted to future generations. However, the re/constructions of Duncan dance discussed in this book are in no way intended to portray a vision of exactly what Duncan produced and danced onstage in her lifetime nor are they intended to be the "definitive, contemporary interpretations." Following writer Mark Franko's discussions on reconstruction addressed further in the Introduction, the book seeks to reveal these re/constructions as "re-membered choreography," [12] recreated anew by succeeding generations as they were passed down in a lineage from Isadora to Anna and Irma Duncan, to Julia, Hortense Kooluris, and subsequently to myself. What emerges as transmittable, re-membered choreography are key or "essential" elements and theoretical principles signified as "Duncan dance" by a variety of scholars, artists and practitioners that contribute, in the words of Suzanne Langer to "an aura of virtual power." [13]
To identify these key elements, I consulted numerous scholarly and biographical writings on Duncan's aesthetic, including works by Ann Daly, Elizabeth Kendall, Frederika Blair, Kimerer LaMothe, and Nadia Chilkovsky Nahumck among others and interviewed over a dozen Duncan dancers around the world. Nadia Chilkovsky Nahumck's book of dance notation and commentary on the dances, Isadora Duncan: The Dances, * was particularly helpful in corroborating on the specifics of basic steps, music, and positions. This book does not attempt to be exhaustive in its discussion, references and analysis of Duncan's repertory of more than 70 works nor is the book meant to serve as a reference guide to Duncan's repertory. Dozens of dances, including many significant symphonic works and solos, are omitted here. Rather, the dances were selected to represent a broad spectrum of styles, themes, and periods in Isadora's life. Inevitably, my choices reflect my own preferences, biases, and interests with regard to the specific dances in the repertory.
Key Themes
Each chapter in the body of the book focuses on different key themes or principles relevant to the teaching and performing of Duncan's work. The themes are contextualized within the framework of the process of exploration and transmission to the seven long-time members of the Isadora Duncan Dance Ensemble, most of whom remained with the company for 15-20 years or more. An overarching theme developed throughout the book relates to the author's quest to create a more humanistic and spiritually awakened community of dancers inspired by Duncan's art and philosophy of life.
Chapters 1, 2, 3, and 4 focus on Duncan's main aesthetic principles as embodied in specific elements of the technique, both for children and adults, and on the art of enlightened teaching and performance. Chapter 1, for example, describes how the use of breath rhythms and the principle of the wave connect the dancers to their sense of organic flow and natural motion. Chapter 2 describes the technique, repertory, and choreographic studies created for young children and adolescents in various Duncan schools. Written largely in the style of a personal memoir, the book utilizes anecdotal examples and personal experiences to describe how the dancers learned to embody Duncan's fundamental principles, such as the awakening of an "inner emotional motor." The book further describes how the profound simplicity and naturalness of the movement enables the dancer to focus more deeply and inwardly on subtle sensory impressions that lead to a greater self-awareness and presence.
Subsequent chapters focus on specific themes embodied in a selection of dances ranging from the three periods that distinguish the arc of her choreographic career: the early lyrical works from the late 1800s up until about 1903; the mature, dramatic dances characterized by themes of womanhood, love, Greek mythology, and tragic loss from about 1904-1913; and the heroic, revolutionary dances of her later life (circa 1914-1927). These chapters describe through the author's self-reflections and the dancer's experiences how the inward emotional resonance culminates in outward expressions of the deepest individual and collective humanistic concerns. Themes include the heroic woman, tragedy and triumph, community, the art of the solo, Dionysian ecstasy, and Apollonian form, among others. The choreographic repertory is viewed, not as codified museum pieces to preserve through precise imitation, but rather as living, breathing entities that each dancer must interpret from her [15] own artistic sensibility and life experience.
A seminal conference on Isadora's art and legacy, the Isadora Duncan International Dance Symposium, held at George Washington University, Washington, D.C in June 2013 was instrumental in helping to develop the final chapter, an overview of the state of the art of Duncan teaching, performance, and related practices and the relevance of the Duncan work in the 21st century. At the Symposium, Duncan scholars and practitioners convened to not only look back, but more significantly, nearly a century after Isadora wrote her article on "The Dancer of the Future," to look forward to a yet unforged future and to assess the present state of Duncan dance.
Related Research and Publications
To date, very few published works focus specifically on Isadora's dance technique and repertory, and none of the published books recounts the process of preservation and the relevance for contemporary dancers in the 21st century. The majority of the publications included in the bibliography are biographical works. Other titles relate to Duncan's philosophy of art. The most well-known books on Duncan's technique are by Irma Duncan and her pupils Julia Levien and Nadia Chilkovsky Nahumck. Irma Duncan and Levien's books are little "how to" manuals of the movement. While Nahumck's book of notated Duncan dances is extremely valuable in providing extensive detail as to the specifics of basic steps, positions, music, costuming, phrasing and other details, none of the aforementioned books give insight into the "inner emotional narratives," the environment, and the processes of reconstruction that imbue a dance with resonant meaning. Nahumck writes in the introduction to her book, "In depth analysis of the psychological and emotional content of Duncan's work is left to future students of these dance scores." [16] The primary purpose of her book rather is to provide a representative collection of Duncan dances transcribed in practical forms for use in performance, education and enjoyment. [17]
This present book thus seeks to help fill in the gaps in emotional and psychological content omitted by Nahumck, Irma Duncan and Levien. It does not attempt to explain all the details of the execution of the gestures and steps of the choreography except in brief sections nor to be a "how to" manual. Rather through memoir and storytelling, it seeks to shed some light on the creation of a teaching and performing environment that would best foster and perpetuate an embodiment of Duncan's ideals. The narrative tries to articulate and make explicit some of the ineffable aspects of dance transmission, notably those qualities that help create "luminosity" and an "aura of authenticity" that cannot be gleaned from DVD reconstruction or from reading theoretical works such as Ann Daly's Done into Dance. [18]
The personal stories and challenges faced by dancers in the company hopefully also reveal the power and meaning of the dances and resonate with readers' own lives in a visceral, authentic way. For example, Chapter 12 focuses, in part, on how the courage and determination of long-time company member Stephanie Bastos, who lost her leg in a car accident and continues to perform after the accident with the aid of a prosthetic leg, became a potent metaphor for the heroic ideals embodied in the Russian Revolutionary dances.
Distinct from other published books on Isadora's art, the philosophical and theoretical underpinnings of Duncan's art emerge out of the very personal and experiential stories of the dancers and the author. It is hoped that in this way, the stories will resonate with the life and experience of all those who long to dance, have danced, love dance or other performing arts and/or direct dance companies, and that it will inspire them to embark on the journey with greater understanding, integrity, and humanistic principles.
A School for Life: To Dance Is to Live
John Martin, the renowned first modern dance critic for the New York Times wrote that Duncan's contributions to innovations in style of movement, music, and dress were of minor significance compared to her immense contributions to a new theory of dance, notably her discovery of basic dance not as a profession or art but as a biological function. Isadora was seeking to discover the roots of that impulse toward movement as a response to every experience, which she felt in herself and which she was convinced was a universal endowment. [19] Martin wrote that her discovery was remarkable for its soundness in relating emotion to visceral action and visceral action to outward movement. Furthermore, Martin elaborates that a revival of the conscious use of this faculty that she referred to as the central inner source or "soul" (located physically at the solar plexus) would mean deepening and broadening the whole range of life [20].
Duncan's methodology for arousing the "motor in her soul" has remained a vague and mysterious process. Her writings hint at a theory and methodology, but she fails to explicate any systematic principles, as did Martha Graham for dancers and theater director Konstantin Stanislavsky for actors. This book seeks to elucidate and reveal a methodology and system for awakening this inner faculty.
Lastly, and most significantly, the book illuminates how I sought to not only perpetuate Isadora's work but also to embrace Duncan's philosophical ideals in the everyday life of our "Duncan family" so that art and life would merge. Through personal stories as well as historical and philosophical research, the book seeks to illustrate how Duncan's technique and repertory, as passed down through successive generations, remains a vital tool for fostering self-integration and humanistic ideals that serve to inspire and develop the whole person. It documents the intimate personal and group psychological struggles, spiritual challenges and triumphs of this endeavor, shedding some insight into a process of creating not just a school for the dance but "a school of life." [21]
Values of courage, faith, hope, and love inherent in the dances became ethical principles that I sought to instill in our performing lives. Passionately devoted and committed to the work, the dancers called me "Mommy Seidel" and referred to our company as a family, Like a family, we also struggled and endured many interpersonal challenges, compounded by the insecurities of young dancers' egos, as well as the internal and external challenges and complexities endured by all dance companies. In this regard, this memoir is a story of the search for our greater humanity and our struggles to transcend the pettiness of competing egos by affirming the sanctity of the "higher Self":
The dance, in my opinion, has for its purpose the expression of the most noble and the most profound feelings of the human soul… The dance must implant in our lives a harmony that is glowing and pulsing. [22]
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О
КНИГЕ
Частично художественное исследование, частично интимной мемуары, эта
книга освещает технику и репертуар американская танцовщица Айседоры Дункан
(1877-1927) и ее непреходящее наследие с точки зрения художника и ученого,
который реконструировала и выполняла эту работу в течение 35 лет. Предоставлен
обзор современных событий и тенденций в преподавании и создании танца Дункан,
автор описывает собственную работу направления к Айседоре Дункан танцевального
ансамбля, компании, которая стремилась реализовать миссию Дункан, чтобы создать
не школу танца, но "школу жизни". Наследие Айседоры Дункан обсуждается в
качестве инструмента для стимулирования собственного самовыражения и
гуманистических идеалов.
ОБЗОР
"Тридцать пять лет обучения,
преподавания, исполнения, и постановка Дункан в репертуаре побудило эту ясное,
светлое оказание внутренней, эмоциональной работы, необходимой, чтобы оживить
танцы Дункан и внутренние работы танцевальной компании, посвященных этому. В
бесшовном повествовании, Зайдель вплетает рассказы о жизни Дункан, философии и
искусства через соответствующего танца учеников и собственного опыта танца
Зейдель предложила сердечную дань Дункан, вдохновляющий подарок для коллег
последователей Дункан, и убедительные приглашение для дункановских танцоров
будущего." - Л. Кимерер Ламот, автор «Почему мы танцуем: философия телесных
становлений и танцоры Ницше: Айседоры Дункан, Марты Грэм, и переоценки
христианских ценностей.»
ОБ АВТОРЕ
Андреа Мэнтелл Зайдель почетный
профессор танца, доцент религиоведения, бывший директор-основатель
межкультурного Института танца и музыки Латинской Америки и Карибского бассейна
в центре Международного университета Флориды. Живет в
Майами.
\
Isadora Duncan in the 21st Century
Capturing the Art
and Spirit of the Dancer’s Legacy
Andrea Mantell Seidel
Print ISBN:
978-0-7864-7795-1
Ebook ISBN: 978-1-4766-2369-6
notes, bibliography,
index
softcover (6 x 9) 2015
About the Book
Part artistic study,
part intimate memoir, this book illuminates the technique and repertory of
American dancer Isadora Duncan (1877–1927) and her enduring legacy from the
perspective of an artist and scholar who has reconstructed and performed her
work for 35 years. Providing an overview of modern activities and trends in the
teaching and performance of Duncan’s dance, the author describes her own work
directing The Isadora Duncan Dance Ensemble, the company that sought to
implement Duncan’s mission to create not a school of dance but “a school of
life.” The Isadora Duncan legacy is discussed as a tool for fostering
self-integration and humanistic ideals.
Review(s)
"Thirty-five years
of learning, teaching, performing, and staging Duncan’s repertoire impel this
lucid, luminous rendering of the inner, emotional work required to animate
Duncan’s dances, and the inner workings of a dance company dedicated to doing
so. In a seamless narrative, Seidel weaves accounts of Duncan’s life,
philosophy, and art through relevant dance scholarship and Seidel’s own dance
experiences to offer a heart-felt tribute to Duncan, an inspiring gift to fellow
Duncan followers, and a compelling invitation to Duncan dancers of the
future."--Kimerer L. LaMothe, author of Why We Dance: A Philosophy of Bodily
Becoming and Nietzsche’s Dancers: Isadora Duncan, Martha Graham, and the
Revaluation of Christian Values.
About the Author(s)
Andrea Mantell
Seidel is a professor emeritus of dance, associate professor of religious
studies and former founding director of the Intercultural Dance and Music
Institute of the Latin American and Caribbean Center at Florida International
University. She lives in Miami.
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Isadora
Duncan in the 21st century By Andrea Mantell-Seidel, 2016.pdf
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Isadora Duncan
in the 21st Century
Capturing the Art and Spirit of the
Dancer's Legacy
Andrea Mantell Seidel
\
Айседора Дункан
в 21 веке
Передавая искусство и дух наследия танцовщицы
Андреа Мантелл
Зайдель
ISBN 978-0-7864-7795-1 (мягкий переплет, бескислотная бумага)
ISBN 978-1-4766-2369-6 (электронная книга)
Каталог публикаций
Библиотеки Конгресса США
Доступны каталогизированные данные Британской
библиотеки
© Андреа Мантелл Зайдель, 2016. Все права защищены
Никакая
часть этой книги не может быть воспроизведена или передана в любой форме или
любыми средствами, электронными или механическими, включая фотокопирование или
запись, или с помощью любой системы хранения и поиска информации, без
письменного разрешения издателя.
На обложке: портретная фотография Айседоры
Дункан, сделанная в 1916-1918 годах (Библиотека Конгресса); члены детской труппы
Айседоры Дункан исполняют импровизационный танец, вдохновленный вальсом ля мажор
Брамса, соч. 39, № 15 (Лепестки роз), слева направо: Трин Андри Саксон, Джулия
Дуба, Мерина Зайдель, Майя Гефтер, Айседора Сейлс, Селестия Тост-Флисс, Ванесса
Полтарак, взрослые (в центре) Мишель Васкес (фотограф: Шелли Гефтер)
Напечатано в Соединенных Штатах Америки
McFarland & Company, Inc.,
издательство, касса 611, Джефферсон, Северная Каролина, 28640
www.mefarlandpub.com
----------------------------------------------------------------------------------
Table of Contents & Excerpts
ОГЛАВЛЕНИЕ &
Отрывки
----------------------------------------------------------------------------------
Table of Contents
Acknowledgments .. ix
Preface .. 1
Introduction ..
13
1. First Principles: From Breath to Organic Motion .. 27
2. Dancing
Innocence and Awakening: Childhood and Youth .. 44
3. Training for Dance and
the Dance of Life .. 61
4. Beingness and the Art of Enlightened Performance:
Ave Maria .. 85
5. Enlightened Performance and Dancing the Chorus: Blessed
Spirits .. 96
6. The Art of the Solo Dancer: The Brahms, Chopin and Gluck
Dances .. 109
7. Dancing Community and Joy: The Strauss Waltzes .. 139
8.
Apollonian Form, Beauty and the Natural Body .. 149
9. Dancing the Ecstasy of
Dionysus: Bacchanal .. 163
10. Dancing the Music .. 178
11. Dancing
Tragedy and Triumph: Mother, Revolutionary and Nocturne .. 188
12. Women
Warriors: Dances of Revolutionary Russia .. 200
Epilogue. The Dancer of the
Future: Onward into the Light .. 214
Chapter Notes .. 229
Bibliography ..
241
Index .. 247
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СОДЕРЖАНИЕ
Выражения признательности .. ix
Предисловие .. 1
Вступление .. 13
1. Основные принципы: От дыхания к
органичному движению .. 27
2. Танцы Невинность и Пробуждение: Детство и
юность .. 44
3. Обучение танцу и Танец жизни .. 61
4. Бытие и Искусство
Просвещенного Исполнения: Аве Мария .. 85
5. Духовное исполнение и Танец
Хора: Благословенные Духи .. 96
6. Искусство солиста: Брамс, Шопен и Танцы
Глюка .. 109
7. Танцы Единства и радости: вальсы Штрауса .. 139
8.
Аполлоническая форма, Красота и Природное тело .. 149
9. Танцы экстаза
Диониса: Вакханалия .. 163
10. Танцы Музыки .. 178
11. Танцы Трагедия и
Триумф: Мать, Революционный и Ноктюрн .. 188
12. Женщины-воительницы: Танцы
революционной России .. 200
Эпилог. Примечания к главе "Танцор Будущего:
Вперед , к свету" .. 214
Примечания .. 229
Библиография .. 241
Индекс .. 247
vii
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