The Repertory section works to provide as much of this information as possible for the broadest and deepest possible understanding of the dance itself. In many cases, a dance may have more than one title, more than one variation, more than one version and more than one description or interpretation. The Repertory section of the Isadora Duncan Archive includes the dance title, as well as alternative titles for variations and versions, the musical designation, factual information (date or location of premiere, subject matter and so forth) as well as descriptions of the dances from archival material (press clippings and reviews) and from various Duncan dance practitioners who have learned and performed the dances. These terms align with the standard use of choreographic terminology and practice in the larger field of dance. Additionally, dances can be presented with alternative “stagings” in which a Duncan dance practitioner presents the work in different formats, such as making a traditional solo into a group piece or a duet, or performing as a solo what was originally choreographed as a quartet changing facings, directions or floor patterns, or adapting the piece for a site specific location. In general, “variations” are defined as dances which have essentially the same structure and gestural content, but with mild to moderate differences as opposed to “versions” which are dances that use the same music and may have the same thematic subject, but are largely different in structure and gestural content. Therefore the current community of Duncan dance practitioners acknowledge the presence of versions and variations, and work to identify and credit the lineage from which they learned a dance, and make efforts to transmit versions and variations as clearly as possible. So the dances could have been passed on in different ways by Isadora herself to her students. Because each individual is unique, it is expected that each performance of a choreography will be likewise unique.Īdditionally, it is believed that Isadora herself danced her choreographies differently from performance to performance and over time as she developed as an artist. This is an accepted practice in the Duncan oeuvre because of the inherent value that the Duncan technique and philosophy places on the expressive differences of the individual Duncan dance artist and performer. The transmission of these dances from body to body, from teacher to student, from person to person, has led to the presence of “versions.” Each of Isadora’s original students, mainly Anna, Irma, Lisa, and Maria-Theresa Duncan, remembered these dances differently, or had different approaches to the dances. It is our hope that this resource inspires you to seek out a qualified Duncan educator to experience firsthand how moving and relevant the philosophy, technique and choreography of Isadora Duncan continues to be. Guidance and coaching from an established master Duncan dance teacher is essential to the learning and effective transmission of Duncan dance repertory, thereby maintaining the highest possible quality and beauty of Isadora’s timeless and classic art legacy. While videos of Duncan dances can be found online, and are featured on the Archive as well, the Duncan community strongly recommends that videos only be used as reference material only, and discourages the learning of dances from video exclusively. Development of deep knowledge of and skill in the Duncan technique as the foundation for learning any repertory work is essential and highly encouraged. Because the Duncan work is such a complete fusion of not only the steps and gestures of the physical movement, but the emotional, spiritual, artistic, and archetypal context of the dance as well as the individual dancer’s personal interpretation and expression, dances in the Duncan repertory should only be passed on directly from a master Duncan dance teacher to a student. The long-standing tradition in the Duncan community is the transmission of dances from teacher to student, from dancer to dancer. Isadora Duncan created hundreds of dances during her decades-long career in the early 20th century, many of which survive to this day due to the diligent efforts of the subsequent Duncan dance practitioners, starting with her adopted daughters, the Isadorables, to their students and through to the Duncan dancers active today. The repertory of Isadora Duncan is a global treasure, a legacy of artistic genius that is shared across cultures and across generations.
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