![]() Isadora stroked his head and said, “Angel”. He swore loudly, said, “Everyone, out of the way!” and performed a wild, foolish but passionate dance for Isadora. Something really striking and expressive. The poet, Sergey Yesenin, knew immediately that he had to do something. Portrait of Sergei Yesenin, Isadora Duncan, and their adopted daughter, Irma What on earth could it all mean? But there was one man at the event who responded exactly as he should. And with good reason: leaping about on stage was a half-naked woman of a certain age, brandishing a red scarf. It’s hard to imagine the workers’ reaction, most probably one of amazement. Isadora was dancing to “The Internationale.” It was at one of them that she met Sergey Yesenin. Real drama awaited Isadora later on, after the revolution, when she opened a school of modern dance in Moscow and began to put on performances. As a result, a collision that might have led to a relationship full of drama and a frantic whirlwind of events ended in just a funny story. The cultural tradition he came from was also fairly well balanced, sober and restrained. Unlike Isadora, Stanislavsky was not a person of extremes, of the abyss, of impetuous decisions. “Most interesting, no doubt,” he said, “and something I have to see…with Mashenka, my wife.” She admired his productions and after one performance went to see him back stage and said that she would like to dance for him naked. The story of her relationship with Stanislavsky is telling. In Isadora’s mind, however, they were inseparable. In the minds of the viewers of the day, the spiritual and physical were kept strictly apart. It was just that her emotions overwhelmed her. It cannot be said that Isadora deliberately set out to shock. When she wasn’t engaged in espionage, she would mimic Malay and Indian dancing, but from today’s standpoint, it was stripping, pure and simple. She became a dancer essentially under the impression of Isadora’s dance performances. Interestingly, her best-known successor was the legendary spy, Mata Hari. Casting off her clothes, returning to her natural state.īut few people grasped the concept and most were convinced they were simply watching a strip-tease. For her, this symbolized freedom from convention. Isadora was not only invited to perform in theatres but at society functions too. When she went to Greece like that, she was very nearly dragged off to the police station as she walked down the street in Athens. But imagine Europe at the close of the 19th century: prim and proper ladies and top-hatted gentlemen, bowing to one another at a distance of 50 yards.Īnd there was Isadora – disheveled, barefoot and dressed like a Grecian dancer. Nowadays, most likely, no one would even look twice. She would even go out and about in a tunic. Her obsession with Greece reached absurd proportions. Isadora had thoroughly researched Greek and Italian dances. This was offset by a plasticity that appeared to have been modeled on the dancers of Ancient Greek bas reliefs. She was fairly stout, her build nothing like a ballerina’s. Looking at Isadora, not even the wildest fantasist would have imagined she was a dancer. She lived her whole life as a dance – bold, reckless and precipitate. Nor was it because she often spent time in Soviet Russia and danced for the sailors of the revolution. Not just because of a love affair with Russian poet Sergey Yesenin that resounded around the world. ![]() There was something very Russian about the celebrated American dancer, Isadora Duncan (1877-1927).
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