As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Contexte: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.
Isadora Duncan: Citations en anglais
“You were once wild here. Don’t let them tame you.”
Source: Isadora Speaks: Uncollected Writings and Speeches of Isadora Duncan
As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 105.
Contexte: To seek in nature the fairest forms and to find the movement which expresses the soul of these forms — this is the art of the dancer. It is from nature alone that the dancer must draw his inspirations, in the same manner as the sculptor, with whom he has so many affinities. Rodin has said: "To produce good sculpture it is not necessary to copy the works of antiquity; it is necessary first of all to regard the works of nature, and to see in those of the classics only the method by which they have interpreted nature." Rodin is right; and in my art I have by no means copied, as has been supposed, the figures of Greek vases, friezes and paintings. From them I have learned to regard nature, and when certain of my movements recall the gestures that are seen in works of art, it is only because, like them, they are drawn from the grand natural source.
My inspiration has been drawn from trees, from waves, from clouds, from the sympathies that exist between passion and the storm, between gentleness and the soft breeze, and the like, and I always endeavour to put into my movements a little of that divine continuity which gives to the whole of nature its beauty and its life.
“I could have played the part of Saint Joan. I ought to have played it.”
As quoted in Isadora Duncan: An Intimate Portrait (1928) by Sewell Stokes, p. 180 http://books.google.co.uk/books?id=5M_nOS7vHGgC&pg=PA180&dq=bernard+shaw+isadora+duncan&hl=en&sa=X&ei=uwUKT7n7DIj_8QP6y5jKAQ&ved=0CDMQuwUwAA#v=onepage&q=bernard%20shaw%20isadora%20duncan&f=false
Contexte: 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.
Source: The Art of the Dance (1928), p. 54.
Contexte: 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.
Source: The Art of the Dance (1928), p. 78.
Contexte: The harmony of music exists equally with the harmony of movement in nature.
Man has not invented the harmony of music. It is one of the underlying principles of life. Neither could the harmony of movement be invented: it is essential to draw one’s conception of it from Nature herself, and to see the rhythm of human movement from the rhythm of water in motion, from the blowing of the winds on the world, in all the earth’s movements, in the motions of animals, fish, birds, reptiles, and even in primitive man, whose body still moved in harmony with nature….. All the movements of the earth follow the lines of wave motion. Both sound and light travel in waves. The motion of water, winds, trees and plants progresses in waves. The flight of a bird and the movements of all animals follow lines like undulating waves. If then one seeks a point of physical beginning for the movement of the human body, there is a clue in the undulating motion of the wave.
Of her husband, the Russian poet Sergei Yesenin, as quoted in A Century of Sundays : 100 years of Breaking News in the Sunday Papers (2006) by Nadine Dreyer, p. 65.
As quoted in A Century of Sundays : 100 years of Breaking News in the Sunday Papers (2006) by Nadine Dreyer, p. 65 http://books.google.com/books?id=5rFGX4z8-S8C&pg=PA65&dq=%22Love+is+an+illusion;+it+is+the+world's+greatest+mistake%22&hl=en&sa=X&ei=NPAkT7mJDJKy0AH5vcXkCA&ved=0CDIQ6AEwAA#v=onepage&q=%22Love%20is%20an%20illusion%3B%20it%20is%20the%20world's%20greatest%20mistake%22&f=false
As quoted in Modern Dancing and Dancers (1912) by John Ernest Crawford Flitch, p. 106.
My Life (1927), chapter 28; Liveright Publishing, 2013, p. 276 https://books.google.it/books?id=7bmj03oQH9IC&pg=PA276.
