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Updated: May 22, 2025
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 theatre today. The audiences stood up and scarcely restrained their impatience to cheer.
There had been bare-foot dancers before Isadora; there had been, I venture to say, discinct "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 contemporaries. Many have overlooked this essential fact in attempting to account for her obvious importance.
Now Isadora's poetic and imaginative interpretation of the symphonic interlude from César Franck's Redemption is full of beauty and meaning to me 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.
"Isadora would be safer with the old ones," Collins said. "Too safe," Isadora's husband objected. "Of course, with younger lions, the work and responsibility piles up on me. But we've got to make our living, and this turn's about busted." Harris Collins shook his head. "What d'ye mean? what's the idea?" the man demanded eagerly.
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.
I thought of Barbey d'Aurevilly's phrase, "Elle avait l'air de monter vers Dieu les mains toutes pleines de bonnes oeuvres." Isadora's teaching has had its results but her influence has been wider in other directions. Fokine thanks her for the new Russian Ballet.
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