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Articles / Carl van Vechten
 
 
Carl van Vechten 
The new Isadora
Magriel, Paul (ed.): Nijinsky, Pavlova, Duncan:
Three lives in dance. Da Capo Press,
1946-1947.
 
     
     I HAVE a fine memory of a chance description flung off by someone at a dinner in Paris; a picture of the youthful Isadora Duncan in her studio in New York developing her ideals through sheer will and preserving the contour of her feet by wearing carpet slippers. The latter detail stuck in my memory. It may or may not be true, but it could have been, should have been true. The incipient dancer keeping her feet pure for her coming marriage with her art is a subject for philosophic dissertation or for poetry. There are many poets who would have seized on this idea for an ode or even a sonnet, had it occurred to them. Oscar Wilde would have liked this excuse for a poem . . . even Robert Browning, who would have woven many moral strophes from this text. ... It would have furnished Mr. George Moore with material for another story of the volume called Celibates. Walter Pater might have dived into some very beautiful, but very conscious, prose with this theme as a spring-board. Huysmans would have found this suggestion sufficient inspiration for a romance the length of Clarissa Harlowe. You will remember that the author of En Route meditated writing a novel about a man who left his house to go to his office. Perceiving that his shoes have not been polished, he stops at a boot-black's and during the operation he reviews his affairs. The problem was to make 300 pages of this! . . . Lombroso would have added the detail to his long catalogue in The Man of Genius as another proof of the insanity of artists. Georges Feydeau would have found therein enough matter for a three-act farce and d'Annunzio for a poetic drama which he might have dedicated to "Isadora of the beautiful feet." Sermons might be preached from the text and many painters would touch the subject with reverence. Manet might have painted Isadora with one of the carpet slippers half depending from a bare, rosy-white foot.
 
     There are many fables concerning the beginning of Isadora's career. One has it that the original dance in bare feet was an accident. . . . Isadora was laving her feet in an upper chamber when her hostess begged her to dance for her other guests. Just as she was she descended and met with such approval that thenceforth her feet remained bare. This is a pretty tale, but it has not the fine ring of truth of the story of the carpet slippers. There had been barefoot dancers before Isadora; there had been, I venture to say, distinct "Greek dancers." Isadora's contribution to her art is spiritual; it is her feeling for the idea of the dance which isolates her from her con-temporaries. Many have overlooked this essential fact in attempting to account for her obvious importance. Her imitators (and has any other interpretative artist ever had so many?) have purloined her costumes, her gestures, her steps; they have put the music of Beethoven and Schubert to new uses as she had done before them; they have unbound their hair and freed their feet; but the essence of her art, the spirit, they have left in her keeping; they could not well do otherwise.
 
     Inspired perhaps by Greek phrases, by the superb collection of Greek vases in the old Pinakothek in Munich, Isadora cast the knowledge she had gleaned of the dancer's training from her. At least she forced it to be subservient to her new wishes. She flung aside her memory of the entrechat and the pirouette, the studied technique of the ballet; but in so doing she unveiled her own soul. She called her art the renaissance of the Greek ideal but there was something modern about it, pagan though it might be in quality. Always it was pure and sexless . . . always abstract emotion has guided her interpre-tations.
 
     In the beginning she danced to the piano music of Chopin and Schubert. Eleven years ago I saw her in Munich in a program of Schubert impromptus and Chopin preludes and mazurkas. A year or two later she was dancing in Paris to the accompani-ment of the Colonne Orchestra, a good deal of the music of Gluck's Orfeo and the very lovely dances from Iphigenie en Aulide. In these she remained faithful to her original ideal, the beauty of abstract movement, the rhythm of exquisite gesture. This was not sense echoing sound but rather a very delightful confusion of her own mood with that of the music.
 
     So a new grace, a new freedom were added to the dance; in her later representations she has added a third quality, strength. Too, her immediate interpretations often suggest concrete images. . . . A passionate patriotism for one of her adopted countries is at the root of her fiery miming of the Marseillaise, a patriotism apparently as deep-rooted, certainly as inflaming, as that which inspired Rachel in her recitation of this hymn during the Paris revolution of 1848. In times of civil or international conflagration the dancer, the actress often play important roles in world politics. Malvina Cavalazzi, the Italian ballerina who appeared at the Academy of Music during the Eighties and who married Charles Mapleson, son of the impresario, once told me of a part she had played in the making of United Italy. During the Austrian invasion the Italian flag was verboten. One night, however, during a representation of opera in a town the name of which I have forgotten, Mme. Cavalazzi wore a costume of green and white, while her male companion wore red, so that in the pas de deux which concluded the ballet they formed automatically a semblance of the Italian banner. The audience was raised to a hysterical pitch of enthusiasm and rushed from the theater in a violent mood, which resulted in an immediate encounter with the Austrians and their eventual expulsion from the city.
 
      Isadora's pantomimic interpretation of the Marseillaise, given in New York before the United States had entered the World War, aroused as vehement and excited an expression of enthusiasm as it would be possible for an artist to awaken in our theater today. The audience stood up and scarcely restrained their impatience to cheer. At the previous performances in Paris, I am told, the effect approached the incredible. ... In a robe the color of blood she stands enfolded; she sees the enemy advance; she feels the enemy as it grasps her by the throat; she kisses her flag; she tastes blood; she is all but crushed under the weight of the attack; and then she rises, triumphant, with the terrible cry, Aux armes, citoyens! Part of her effect is gained by gesture, part by the massing of her body, but the greater part by facial expression. In the anguished appeal she does not make a sound, beyond that made by the orchestra, but the hideous din of a hundred raucous voices seems to ring in our ears. We see Felicien Rops's "Venge-ance" come to life; we see the sans-culottes following the carts of the aristocrats on the way to execution . . . and finally we see the superb calm, the maj'estic flowing strength of the Victory of Samothrace. ... At times, legs, arms, a leg or an arm, the throat, or the exposed breast assume an importance above that of the rest of the mass, suggesting the unfinished sculpture of Michael Angelo, an aposiopesis which, of course, served as Rodin's inspiration.
 
     In the Marche Slave of Chaikovsky Isadora symbolizes her conception of the Russian moujik rising from slavery to freedom. With her hands bound behind her back, groping, stumbling, head bowed, knees bent, she struggles forward, clad only in a short red garment that barely covers her thighs. With furtive glances of extreme despair she peers above and ahead. When the strains of God Save the Czar are first heard in the or-chestra she falls to her knees and you see the peasant shuddering under the blows of the knout. The picture is a tragic one, cumulative in its horrific details. Finally comes the moment of release and here Isadora makes one of her great effects. She does not spread her arms apart with a wide gesture. She brings them forward slowly and we observe with horror that they have practically forgotten how to move at all. They are crushed, these hands, crushed and bleeding after their long serfdom; they are not hands at all but claws, broken, twisted piteous claws! The expression of frightened, almost uncom-prehending, joy with which Isadora concludes the march is another stroke of her vivid imaginative genius.
 
     In her third number inspired by the Great War, the Marche Lorraine of Louis Ganne, in which is incorporated the celebrated Chanson Lorraine, Isadora with her pupils, symbolizes the gaiety of the martial spirit. It is the spirit of the cavalry riding gallantly with banners waving in the wind; the infantry marching to an inspired tune. There is nothing of the horror of war or revolution in this picture . . . only the brilliancy and dash of v:ar . . . the power and the glory! Of late years Isadora has danced (in the conventional meaning of the word) less and less. Since her performance at Carnegie Hall several years ago of the Liebestod from Tristan, which Walter Damrosch hailed as an extremely interesting experiment, she has attempted to express something more than the joy of melody and rhythm. Indeed on at least three occasions she has performed a Requiem at the Metropolitan Opera House. ... If the new art at its best is not dancing, neither is it wholly allied to the arc of pantomime. It would seem, indeed, that Isadora is attempting to express some-thing of the spirit of sculpture, perhaps what Vachel Lindsay describes as "moving sculpture." Her medium, of necessity, is still rhythmic gesture, but its development seems almost dreamlike. More than the dance this new art partakes of the fluid and unending quality of music. Like any other new art it is not to be understood at first and I confess in the beginning it said nothing to me, but eventually I began to take pleasure in watching it. Now Isadora's poetic and imaginative interpretation of the symphonic interlude from Cesar Franck's Redemption is full of beauty and meaning to rne and during the whole course of its performance the interpreter scarcely rises from her knees. The neck, the throat, the shoulders, the head and arms are her means of expression. I thought of Barbey d'Aurevilly's, "Elle avail I1 air de monter vers Dieu les mains toutes pleines de bonnes osuvres."
 
     Isadora's teaching has had its results but her influence has been wider in other directions. Fokine thanks her for the new Russian Ballet. She did indeed free the Russians from the conventions of the classic ballet and but for her it is doubtful if we should have seen Scheherazade and Cleopdtre. Daphnis et Chloe, Narcisse and f Apres-midi d'un Faune bear her direct stamp. This then, aside from her own appearances, has been her great work. Of her celebrated school of dancing I cannot speak with so much enthu-siasm. The defect in her method of teaching is her insistence (consciously or uncon-sciously) on herself as a model. The seven remaining girls of her school dance delight-fully. They are, in addition, young and beautiful, but they are miniature Isadoras. They add nothing to her style; they make the same gestures; they take the same steps; they have almost, if not quite, acquired a semblance of her spirit. They vibrate with intention; they have force, but constantly they suggest just what they are ... imita-tions. When they dance alone they often make a very charming but scarcely over-powering effect. When they  dance with Isadora they are but a moving row of shadow shapes of Isadora that come and go. Her own presence suffices to make the effect they all make.
 
 
 
 
 
 

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Sunday the 19th. . Isadora Duncan Pundect
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