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Isadora Duncan.
The history of the left sandal
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Isadora Duncan.
The history of the left sandal
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Isadora Duncan
by Russian House
Her life is like the script of a Brazilian TV series: there are too many tragic shocks and fatal passions, too many poets, artists, cars, scandals, novels.
So much that it's time to attribute Isadora Duncan the status of a star of a completely different era, somewhere between Princess Diana and singer Valeria.
Show business was in its infancy, but she was already its real star, and besides, she was her own director, impresario and PR manager.
Duncan's fame thundered throughout Europe, she was called "the living embodiment of the soul of dance", "Terpsichore".
Even Vasily Rozanov, who was not inclined to deceive himself, was fascinated ("nature is dancing...") and paid tribute to Duncan's art: "Her personality, her school will play a big role in the struggle of the ideas of a new civilization."
Fin de siècle is precisely characterized by the intensification of the struggle of ideas in art, politics, and relations between people.
The beginning of the XX century gave rise to an almost religious expectation of the arrival of a new civilization, a new man, sung by the mouth of Zara Tustra - this Nietzschean character became universally and unexpectedly popular.
"People, lions, eagles and partridges, horned deer, geese, spiders, silent fish that lived in the water, starfish and those that could not be seen with the eye..."
- Chekhov, as always, very accurately recorded both the ecstasy, and the alien out of position, and some ridiculousness of the "new word" of the art of the future.
The new century seems to have given birth to a new breed of women - ugly, but sexy.
So, the photos of the ugly, big headed Lily Brick do not help to explain her truly magnetic effect on Mayakovsky in any way.
Photos generally do not take such a thing, they do not convey even a tenth of what, judging by the memoirs of contemporaries, the audience of Isadora Duncan's concerts saw, who made the female body itself a material for art.
When Duncan came to St. Petersburg on tour at the end of 1904, Russian society received her with a bang.
The most subtle critics had no doubt that Isadora's dance was destined to sweep away the old culture, classical ballet, dried up from academism, from the" steamship of modernity".
A century later, a balanced approach is easier for critics, and now professionals speak of Duncan as a brilliant dilettante who did not leave either the school or the system.
Modern free dance, which was preached by Isadora Duncan, is closely connected with the movement for the liberation of women, for women's independence.
"If my art is symbolic, then this symbol is the freedom of a woman and her emancipation from the entrenched conventions that underlie Puritanism," she wrote.
We must understand that Puritanism is not a figure of speech: a century ago, American women were really imprisoned in a cage of the strictest canons and prohibitions.
So, for example, the height of indecency was not only to show a leg, the very word " leg " could offend the ears of some Aunt Jane.
Therefore, even the appearance of Isadora Duncan was an absolute revolution: a woman dancing for the public, looking like an antique statue, in a short transparent tunic, not just without a corset (which in itself is indecent), but - oh, horror!
- without underwear and barefoot…
Suffragette children
The daughter of a music teacher and a poet entangled in financial scams, who treacherously abandoned his wife with young children, Angela Duncan was born in San Francisco on May 26, 1877, when the prospects for the survival of the family were very vague.
Poverty struck suddenly: in his memoirs "My Life", Duncan writes that his mother, when she was pregnant with her, ate exclusively oysters with champagne, but after the birth of the child, the family with four children was left practically without means of subsistence.
Oysters and champagne will be left on the conscience of the memoirist.
The mother and children were poor, they moved from place to place all the time in search of cheap housing, they starved - this is undoubtedly true.
Duncan writes that she is grateful to her mother for the music that was constantly playing in the house, and poverty, because she enjoyed such boundless freedom, which children from prosperous bourgeois families do not even suspect.
The praise of hungry freedom sounds too enthusiastic - the dancer tried to raise her own children in luxury, comfort and bliss.
Students, too: it is known that Duncan spent the money earned on the tour on the arrangement of her dance schools - both in the prosperous Grunewald and in post revolutionary Russia, it was important for her that children absorbed her philosophy of movement in beautiful interiors, so that they were fed and healthy.
Duncan furnished the villa in Grunewald in the Greek spirit, and actually supported the students.
The same thing happened in the USSR - children were brought to her to save them from starvation.
The father of her first child, daughter Deirdre, whom the dancer gave birth to at the age of 29, was Gordon Craig - a reformer director and a great set designer, as a woman in love who was prone to exaltation called him.
This novel lasted almost four years and was based not only on passion, but also on a community of interests.
Craig admired Isadora and appreciated her highly "She was the forerunner...
She released the dance into our world in the firm belief that she was doing great and true...
As soon as I saw her dance, my thoughts flew up, as if with a rush of fresh air."
It should be noted that the ideals of freedom, which Duncan tirelessly preaches, also go against traditional notions of decency: not a single lover became her husband (with the exception of Sergei Yesenin), and all her children were born out of wedlock and from different men.
(She gave birth to the third child, who died in infancy, after the tragic death of her son and daughter, literally asking the first person she met to "give her a child".)
Duncan was able to learn and draw lessons even from seemingly completely didactic situations.
After experiencing a very difficult birth, she swore that she would not allow such barbarism again.
Her second child, son Patrick, whose father was the heir to the Singer empire, was received by an experienced doctor who used anesthesia.
Duncan publicly stated that a modern woman should not give birth in pain - a challenge to Christian morality and a completely revolutionary declaration at that time.
It was not difficult for Isadora herself to follow the declaration thanks to the money of Paris Eugene Singer, whom she calls a good knight, savior and Lohengrin in her memoirs.
Children, Duncan writes, made her really happy, and her body perfect.
The most touching and heartfelt lines in the dancer's memoirs are dedicated to children and the joys of motherhood.
But this joy was short lived: in 1913, in Paris, a son and daughter, along with a nanny, were killed in a car accident.
The source of the rhythm is the heartbeat
Isadora Duncan's Russian tour at the beginning of the twentieth century stirred up society not only with an unusual kind of dancer, her dance philosophy proved to be very fruitful for the search for Russian artistic thought.
The poets of the Silver Age inscribed her art into their aesthetics and admired the ability to convey music with movement, applauded the sensuality of her dances and her nakedness Maximilian Voloshin, the author of the first review of Duncan's performance in the Russian press, stated that she " dances everything that other people say, sing, write, play and draw.
Music is embodied in it and comes from it."
The reviewer saw in her dances a deep poetic and philosophical meaning, almost the exercise of a religious cult "Nothing can shake the soul so much as dance...
Dance is the highest of the arts, because it goes back to the very sources of rhythm, contained in the pulsation of the human heart."
Andrey Bely went even further in raptures: "It is about the unspeakable.
There was a dawn in her smile.
In the movements of the body - the aroma of a green meadow.
The folds of the tunic, like a murmur, beat with foam streams, when she gave herself up to a free and pure dance."
A thin, widely educated cultural historian, philosopher, essayist and propagandist of the aesthetics of modernism, critic Akim Volynsky wrote about the Duncan dance as "the transformation of music into a visual impression".
The performances of the dancer, which caused delight among some, irritated others.
It cannot be said that those who saw in her only a half naked lady, jumping around the stage without any sense, were ignorant savages, insensitive to beauty.
The famous conductor Alexander Ziloti called Isadora's dances primitive and did not find any correspondence between music and movements: "She then raised her hands up, then suddenly seemed to be looking for a piece of paper lost on the floor...
And suddenly Ms. Duncan began to dance either some kind of cancan, or to run around the stage like a goat."
The drawing of her dance was simple, even simple.
It is known that she indignantly rejected the academic school, exhausting ballet classes, not to mention the ballet "eversion" of the leg and pointe shoes.
Her goal was to find a "source of spiritual expression".
However, when Duncan theorizes, she is carried away to such exorbitant distances that it is quite difficult to reach a clear meaning.
The" source of spiritual expression "that Isadora found in her soul was bound to" flow into the bodily channels, filling them with vibrating light."
"Vibration", "light", "soul", "mirror", "waves", "wind", "Universe", "will" - all this gentlemanly set of symbolism is certainly present in her texts dedicated to dance.
There were no refined or special means of expression in the arsenal of the dancer: a step, light running, low jumps, free batmans with a slight rise of the leg, expressive poses and gestures.
A strong impression was created by herself, her perfect body (the translucent fluttering tunic did not hide anything), light and beautiful music - Brahms, Gluck, Schumann, Schubert, Mendelssohn and, of course, Chopin, who was played so much by his mother as a child.
All contemporaries also note that there was some special magnetism in her movements.
Here is how the first meeting with the artist is described by her translator and secretary, the observant and intelligent Lola Kinel: "A plump, middle aged woman in a salmon colored negligee was gracefully reclining on a couch.
She had a small head with Titian curls, a beautiful but cruel mouth and sentimental eyes; when talking, she swallowed or crumpled words.
When she got up and began to move around the room, I saw that she was not at all stout and not middle aged: she was beautiful, an incomprehensible natural grace was evident in her every movement..."
Duncan felt her own vocation very early, starting to dance before walking: "When I was placed in the middle of the table in a child's shirt, I danced to every melody that was played to me, and served as fun for all my family and friends."
Little Dora (she invented the sonorous Isadora when she started performing at social parties) as a child listened to her mother's playing with delight and tried to convey her first musical impressions in movement: "As a child, I expressed in dance the impetuous joy of growth; as a teenager, joy that turns into fear at the first sensation of undercurrents, fear of ruthless cruelty and the destructive progressive course of life."
And already at the age of six, Dora gathered neighborhood children and taught them to improvise to music - so the idea of her schools was born.
Duncan's art had no continuation and ended with her death.
She had students (she organized dance schools in America, Germany, France, Greece, Russia), there were imitators and followers, but there is no Isadora herself.
If the pianist does not play a Chopin etude well, the audience will still hear the composer's music.
It is impossible to perform the Duncan dance badly - it simply will not be.
The tragedy of Duncan - and her uniqueness is precisely that the meaning forming element of her work was herself, her personality.
And, therefore, there can be no continuation.
Golden head
On May 2, 1922, the marriage of Sergei Yesenin and Isadora Duncan took place in the Khamovnichesky Registry Office in Moscow.
He was 27 years old, she was 45.
The newlyweds expressed their desire to bear the double surname Duncan Yesenin.
Leaving the registry office, Yesenin exclaimed joyfully: "Now I am Duncan."
Six months earlier, in the autumn of 1921, Isadora, who called herself "red" and "Marxist", received an invitation from the Soviet government and a promise of state support for a dance school that she intended to create for the children of workers and peasants of the new Russia.
An announcement was placed in the "Working Moscow" about the opening of the "Isadora Duncan School for children of both sexes aged 4 to 10 years".
The aged dancer in the halo of world fame still arouses curiosity, but the former delight is no longer there.
Critics note the impoverishment of the already meager dance vocabulary, write that Duncan is engaged in anything - pantomime, monodrama but not dance.
In the same autumn, in the studio of the artist Georgy Yakulov, her meeting with Sergei Yesenin takes place, described by Anatoly Marienhoff in "A Novel without lies": She looked around the room with eyes like saucers made of blue faience, and stopped them on Yesenin.
The small, delicate mouth smiled at him.
Isadora lay down on the sofa, and Yesenin at her feet.
She dipped her hand into his curls and said: Solotaia golova!
It was unexpected that she, who knows no more than a dozen Russian words, knew exactly these two.
Then she kissed him on the lips.
And for the second time her mouth, small and red as a bullet wound, pleasantly broke the Russian letters: Angel!
She kissed me again and said: Tschort!
At the fourth hour of the morning, Isadora Duncan and Yesenin left.
According to Duncan, Mary Desty describes this meeting: "... she said until her death that she remembered how his blue eyes looked into her eyes and how she had the only feeling - to rock him to rest, her little golden haired child."
This touching feeling did not bother contemporaries at all, who composed epigrams on Yesenin and Isadora, ridiculing their misalliance ("Where did the airplane take Yesenin?
To ancient Athens, to the ruins of Duncan"), Duncan became a "Tweety Communist", and the happy lover himself was happy for a very short time.
The unappetizing details of this union, the drunken antics, the poet's riot and spree, the scandals within the "imagist project", the ambiguous role of Duncan, who patiently endured humiliation and forgave everything to her young husband, were voluptuously retold by all the memoirists and all the gossips of Moscow and the Russian abroad.
The poet Natalia Krandievskaya Tolstaya writes in her memoirs that " Duncan's attitude to everything Russian was suspiciously enthusiastic.
Sometimes it seemed: this jaded, tired of fame woman does not perceive both Russia, and the revolution, and Yesenin's love, as an evil aperitif, as a fiery seasoning for the last dish at the feast of life?
She was about 45 years old.
She was still good, but in her relationship to Yesenin, the tragic greed of the last feeling was already felt."
On May 10, 1922, the newlyweds flew to Germany.
Isadora was waiting for a tour in Europe and America, Yesenin dreamed of conquering the world with his poems, but very quickly Europe bored him, and the poet found the public's inattention to him offensive.
The writer Gleb Alekseev, who came to Yesenin's meeting with the emigrant audience at the Berlin House of Arts, describes the phenomenon of the couple to the people in grotesque tones: "A woman with purple hair, a mask on her face is a witness of a desperate struggle of a person with life.
And next to him is a little boy in curly hair, a clever boy from Palkin's Moscow tavern with siskins under the ceiling, evasive and alert.
A grandmother who has made a big noise, who is condescending to mischief, and a grandson is a tomboy."
The foreign tour did not work out.
The American impresario Duncan Solomon Yurok was dissatisfied with her performances, the audience came less and less, the fees fell, besides, according to Yurok, Isadora danced at the same time"licentiously and indifferently".
English Slavist Gordon McVeigh writes that, in contrast to the festive and noisy atmosphere of the arrival of Yesenin and Duncan in America, almost no one came to see them off, did not send flowers…
In February 1923, Yesenin and Duncan left for the Old World on the steamer "George Washington".
"This Bolshevik whore who does not wear enough clothes, a crutch for her instead of a litter…
I would send back to Russia..." - these were the words of the popular Protestant preacher Billy Sunday, America conducted its famous Isadora.
She did not remain in debt and told reporters of New York newspapers: "Materialism is the curse of America.
The last time you see me...
I'd rather live in Russia on black bread and vodka than here in the best hotels.
You donot know anything about love, about spiritual food and about art!"
"I'm going to glory"
Translator Lola Kinel notes in her memoirs that Isadora preferred cars of all means of transportation.
It's so gorgeous a speeding car, and in it a beautiful woman with a scarlet scarf fluttering in the wind!
Scarves, like speed, were her passion, with them she danced her most famous compositions.
And it so happened that on September 14, 1927, the scarf became a noose for her, and the car in an instant tightened this noose around her neck.
Many contemporaries described this death, so theatrical, in the taste of Isadora.
Journalist Ilya Schneider, however, calls the ill fated scarf shawl: "Isadora went down to the street, where she was expecting a little race car, joking and throwing it on the shoulder end of the red shawls with flattened yellow bird, farewell waved his hand and, smiling, made the last of his life...
Red shawl with flattened bird and blue Chinese Aster went down with a shoulder Isadora, slid over the side of the car, quietly licked dry rotating rubber wheel.
And suddenly, having wound herself into the wheel, she roughly pulled Isadora by the throat."
She once said: "The whole paradise on earth.
And all hell too" Duncan's earthly hell is over, and whether there is a heavenly paradise is unknown.
Maybe it's fame.
After all, her last words were: "Goodbye, friends, I'm going to glory!"
Irina Golovinskaya
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Last modified on Sunday, 04 October 2015 18:02
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