Isadora Duncan harmony with dance - Research Paper Example

Her free flowing pattern of dress is said to be influenced by the Greek style (Lomask, 1997). Her unrestricted and graceful movement of body has given her a special place in the works of various artists like writers, sculptors, painters, actors, musicians and film makers (Uminski, 2007). However, Duncan was overtly criticized by the narrow minded section of the society according to which she was far too advance than the era in which she was living (Uminski, 2007). Brought up in poor apartments, Duncan spent her childhood dancing alone on the beaches (Lomask, 1997).

Hardships in her life made her stand up for deprived children and distressed women (Lomask, 1997). The maestro wanted to perform for mesmerizing the souls of the less privileged rather than for minting money (Lomask, 1997). This was clearly reflected in her costumes and make up. The dancer has clearly stated: (Duncan, 1927) When I speak of my School, people do not understand that I do not want paying pupils; I do not sell my soul for silver. I do not want the rich children. The have money and no need for Art.

The children I long for are the orphans of the war, who have lost everything, who no longer have their fathers and mothers. As for me, I have little need of money. Look at my costumes. They are not complicated; they did not cost very much. Look at my decors, these simple blue curtains I have had since I first started dancing. As for jewel, I have no need for them. A flower is more beautiful in the hands of a woman than all the pearls and diamonds in the world. Collaborating Artists: Edward Gordon Craig & Constantin Stanislavski Isadora Duncan had an umpteenth number of artistic collaborators.

Edward Gordon Craig and Constantin Stanislavski were considered as the chief collaborating artists for Duncan. The dancer met Craig, an actor, director, designer and graphic artist for the first time in Berlin in December 1904 (Zavrel, 2003). In the same year, Duncan opened her first dance school in Grunewald and her group was later known as the “Isadorables” (“Chapter 2”, n.d.). The two of them met again in Duncan’s recital, a Chopin program which was conducted in a simple background (Zavrel, 2003).

Craig was highly impressed by Duncan’s performance and fell in love with her. Their love gave way to Duncan’s first daughter, Deidre who met with an unfortunate death in 1913 (Craig, n.d.). Craig eventually parted away with Duncan whom he used to call “Topsy” in 1907 (Craig, n.d.). A couple of years ago, both Duncan and her stage designer, Craig were brought into discussion (Holroyd, 2009). According to Holroyd, Duncan’s “nine-minute pas de deux with Craig is a wonderfully sustained and ingenious piece of erotic interplay…” (Holroyd, 2009).

During her tour of Russia between 1904 and 1907, Duncan first met Constantin Stanislavsky, the popular Russian theatre director who had deep admirations for the dancer (“Chapter 2”, n.d.). At that time, Stanislavsky was occupied with Method of acting (Uminski, 2007). It has been stated, “The famous Stanislavsky Method of acting is nothing more than a device for switching on at will what Isadora called the ‘motor in my soul.” (Mazo, 2000:52) The director sponsored Duncan’s school in Russia where she had plans to educate children in dance (Uminski, 2007).

In 1908 Isadora introduced Craig to Stanislavsky who offered Craig to direct their production of Hamlet (Edward Gordon Craig,