Isadora Duncan
33 quotes
Biography
"Art is not necessary at all. All that is necessary to make this world a better place to live in is to love - to love as Christ loved, as Buddha loved."
"It has taken me years of struggle, hard work, and research to learn to make one simple gesture, and I know enough about the art of writing to realize that it would take as many years of concentrated effort to write one simple, beautiful sentence."
"Now I am going to reveal to you something which is very pure, a totally white thought. It is always in my heart; it blooms at each of my steps... The Dance is love, it is only love, it alone, and that is enough... I, then, it is amorously that I dance: to poems, to music but now I would like to no longer dance to anything but the rhythm of my soul."
"I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover movèments, just like harmonies in music, are not invented; they are discovered."
"Bernard Shaw says that as long as men torture and slay animals and eat their flesh we shall have war. I think all sane, thinking people must be of his opinion. The children of my school were all vegetarians, and grew strong and beautiful on a vegetable and fruit diet. Sometimes during the war when I heard the cries of the wounded I thought of the cries of the animals in the slaughterhouse, and I felt that, as we torture these poor defenceless creatures, so the gods torture us. Who loves this horrible thing called war? Probably the meat-eaters, having killed, feel the need to kill—kill birds, animals—the tender stricken deer—hunt foxes. The butcher with his bloody apron incites bloodshed, murder. Why not? From cutting the throat of a young calf to cutting the throat of our brothers and sisters is but a step. While we are ourselves the living graves of murdered animals, how can we expect any ideal conditions on the earth?"
"I could have played the part of Saint Joan. I ought to have played it. I have the ample figure, the hardy physique of a farm-servant. Joan was a buxom creature. Yet she is always played by thin little actresses."
"I could not adopt him so I married him. You know how wonderful he is, like all Russians. He starts reciting verse at two o'clock in the morning."
"The movement of the waves, of winds, of the earth is ever in the same lasting harmony. We do not stand on the beach and inquire of the ocean what was its movement of the past and what will be its movement of the future. We realize that the movement peculiar to its nature is eternal to its nature. The dancer of the future will be one whose body and soul have grown so harmoniously together that the natural language of that soul will have become the movement of the body."
"And here I want to avoid a misunderstanding that might easily arise. From what I have said you might conclude that my intention is to return to the dances of the old Greeks, or that I think that the dance of the future will be a revival of the antique dances or even of those of the primitive tribes. No, the dance of the future will be a new movement, a consequence of the entire evolution which mankind has passed through. 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. For art which is not religious is not art, is mere merchandise."
"All my muses in the theatre are movements seized during Isadora's flight; she was my principal source."
"I have the right to choose the father of my own children," she declared, and then wrote to George Bernard Shaw: "Will you be the father of my next child? A combination of my beauty and your brains would startle the world," but he replied: "I must decline your offer with thanks, for the child might have my beauty and your brains."
"It was never easy to coax Isadora Duncan into a photographer's studio. Like a wild and wise animal, she fled from those who sought to capture the essence of her — which was motion — by making her stand still."
"This great artist is no longer in our world. The sun has set: the cycle is finished. In her art and in her life Isadora Duncan seemed to be an incarnation of all the energies of Nature."
"In those moments where beauty and emotion fuse and climax, something of the immortal floats about the dancer; she wanders in a divine ray, in a mist where all works of art circle in unison with her."
"Perhaps the greatest personality who has ever devoted herself to developing the art of the dance … Her interests ranged over a wide field of activities. There was a time when she wished to initiate a reform of human life in its least details of costume, of hygiene, of morals. But gradually she came to concentrate her interest upon the dance. For her the dance is not merely the art which permits the spirit to express itself in movement; it is the base of a whole conception of life, a life flexible, harmonious, natural. In the development of the dance she found herself confronted by the dilemma which has just been alluded to. On the one hand was the limited technique of the ballet, on the other the unnatural contortions of the eccentric school. To return to the unconscious gesture of the people — that is to say, the crude, stereotyped gestures of the street — offered no way of escape. She found the solution in a return to the natural gesture of human life as represented in Greek art."
"Isadora Duncan has not dealt with the dance intellectually, nor spiritually — but personally. The Age saw to that!"
"Her dances were hymns to freedom — of sensibility, of passion, of the transcendentally convinced and convincing Emersonian soul … Today it is hard to picture convincing interpretations of Joy, Hope, Immortality, the Soul. But at the turn of the century an American girl, incarnating these and more, coincided with historical promise."
"Here was a great woman; a magnificent, generous, gallant, reckless, fated fool of a woman. There was never a place for her in the ranks of the terrible, slow army of the cautious. She ran ahead, where there were no paths."
"When she read my first book Visions and Revisions, she sent me so many red roses that they filled the little flat, but I was too nervous to go and see her. She has been one of the most thrilling sensations — but that is a wretched word to express it — of my whole existence. She has danced for me alone — with a beauty that makes the most beautiful young girls' dancing seem mere child's play. It was as though Demeter herself, the mater dolorosa of the ancient earth, rose and danced. Well, she has gone — and I enclose to you the red rose she gave to me as she went."
"She suggested that the sculptor might probe the Greek spirit by studying modern dance. Antoine Bourdelle agreed. Capturing Duncan's appeal for a generation of sculptors, he likened the dancer to an "antique marble throbbing with eternity," who infused with life a classical sporty all but snuffed out by stale academicism."
"Isadora Duncan! … I feel that she dances a symbol of human, animal happiness as it should be, free from the unnatural trammels. Her great big thighs, her small head, her full solid loins, belly — clean, all clean — she dances away civilization's tainted brain vapors, wholly human and holy — part of God."
"Poetry personified. She is not the Tenth Muse but all Nine Muses in one — and painting and sculpture as well."
"Whenever you feel the evil influence of the middle class muddling your soul, you'll say these two words and you'll be a free spirit again: "Isadora Duncan.""
"Nor must we forget the liberating force which sprang from the art of Isadora Duncan, whose heroic practice has done more than any precepts of philosophy to widen our ideas as to the intellectual and spiritual possibilities of the dance."