╦¤ 4003. Sutton Dance Writing

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A Selection Of Isadora Duncan Dances
The Shubert Selection By Sylvia Gold
Written In SUTTON DANCE WRITING
 

This book is dedicated to my teacher, Irma Duncan.                     
To My Husband Ben, Thank You.
 

A Selection Of Isadora Duncan Dances
The Shubert Selection
By Sylvia Gold,
Duncan Dancer, Teacher, & Director
Founder of the Isadora Duncan Repertory Dance Company
Dance Writer & Copyist:
Lorraine Spada, Certified Teacher, Suton Dance Writing
Original Dances By Isadora Duncan,
Choreographed To Music By Franz Schubert
Dance WritingÓ╬ & Copy Editors:
Ann Berg 
Helene Byrne, Certified Teacher, Suton Dance Writing
Iris Berry Rogers, Certified Teacher, Suton Dance Writing
Valerie Suton, Inventor Suton Dance Writing

Dance Photographs:
Photographs of Sylvia Gold & Ellen O˛Reily by Donald Malpass
Photograph of the, Three Graces by
Jaye R. Philips

A Selection Of Isadora Duncan Dances
The Schubert Selection
Writen In SUTTON DANCE WRITINGÓ╬
Copyright @ 1984 By The Center For Suton Movement Writing, Inc.
ALL RIGHTS RESERVED
Pan American and Universal Copyrights Secured
ISBN Number 0-914336-20-7

NOTICE This book is copyrighted in the United States of America and in al countries signatory to the Pan American and Universal Copyright Conventions. No part of it may be reproduced in any way unless my written permission has been obtained. If the choreography in this book is performed, credit to Sylvia Gold, to Suton Dance Writing, and to A Selection of Isadora Duncan Dances must be mentioned in the writen program accompanying the performance.  Sylvia Gold & Valerie J.

Suton Book Designed by Jayne Gunderson Layout Production by Valerie Suton Printed and Published in the United States of America Dance WritingÓ╬ is a trademark belonging to the The Center For Suton Movement Writing, Inc., a non-profit, tax exempt, educational membership organization.

Published by The Suton Movement Writing Press The Center for Suton Movement Writing, Inc.
P.O. Box 517
La Jola, California 92038-0517
Tele: 858-456-0098 
Fax: 858-456-0020 
www.dancewriting.org

The Cover photo of
Elen Reily by Donald Malpas

Table of Contents

Foreword by Gemze de Lappe . . . . . . . . . . . . . . . . . . . . .5
Introduction by Sylvia Gold. . . . . . . . . . . . . . . . . . . . .7
Isadora Duncan . . . . . . . . . . . . . . . . . . . . . . . . . . .9
The Costumes . . . . . . . . . . . . . . . . . . . . . . . . . . . .11
The Author . . . . . . . . . . . . . . . . . . . . . . . . . . . . .13
The Dance Writer & Copyist . . . . . . . . . . . . . . . . . . . . .14
Suton Dance Writing. . . . . . . . . . . . . . . . . . . . . . . . .15
The Schubert Selection
The Lullaby Solo - Op. 33 No. 7 . . . . . . . . . .. . . . . . . . .21
The Ballspiel Solo - Op. 91a No. 10  . . . . . . . . . . . . . . . .29
The Tanagra Solo - Op. 9b No. 16 . . . . . . . . . . . . . . . . . .35
The Slide Solo - Op. 33 No. 3  . . . . . . . . . . . . . . . . . . .39
The Waterstudy Solo - Op. 91a No. 12 . . . . . . . . . . . . . . . .47
The Moment Musicale Solo - Op. 94 No. 3  . . . . . . . . . . . . . .57
The Duet - Op. 33 No. 10 . . . . . . . . . . . . . . . . . . . . . .65
The Three Graces - Op. 96 No. 15 . . . . . . . . . . . . . . . . . .75
Glossary of Classic Isadora Duncan Steps . . . . . . . . . . . . . .93
Glossary of Suton Dance Writing Symbols. . . . . . . . . . . . . . .97
Selected Bibliography  . . . . . . . . . . . . . . . . . . . . . . .100
Selected Video Tapes . . . . . . . . . . . . . . . . . . . . . . . .100

Forward

Having studied the Isadora Duncan Dance as a child, I understand its contribution to the artistic world. I have always felt that my ability to give more emotional quality to my solo dance roles in Broadway musicals came from the Duncan experience. When Agnes de Mille took her American Dance Heritage program across the country, she acknowledged the place that Isadora holds in the history of American dance. When I performed with Agnes de Mille, two of Isadora˛s dances were on the program. One of the dances, the Three Graces, is the last piece in this book. The second dance was a duet choreographed to a Chopin mazurka. I hope this second dance will be included in future books by Sylvia Gold. I have seen two well known prima ballerinas perform dances in the ˛style˛ of Isadora Duncan.  Their performances were taken from vague recollections and impressions of Isadora. Although performed beautifully, the choreography was fuzzy, unstructured and unmusical when compared with Isadora˛s originals. This book preserves the Duncan dances and their style. It is my hope that dancers wil use this book to recreate Isadora˛s choreography and that this will rectify past problems in reconstruction. Hopefully future generations will perform these dances as Isadora would have wished. Irma Duncan expresses regret in her autobiography Duncan Dancer that neither Isadora nor Irma were able to leave some tangible result of this transient art. The present collaboration between Sylvia Gold and Valerie Suton should be the beginning of the fulfilment of another of Irma and Isadora˛s dreams; to bring the art of the Duncan Dance to a wide circle of dancers and through them, to an even wider audience.

Gemze de Lappe

About Sutton Dance Writing

Isadora Duncan was the first to free dance from the many constraints imposed by classical ballet. She can therefore be rightfuly caled the mother of modern ˛barefoot˛ dance. When watching a trained and gifted Duncan dancer, the viewer is struck by the complete integration of music and movement and may mistakenly feel that little technique is required to perform the dance. Some of my students are surprised that a Duncan class starts with warm-ups at the barre, continues with a center adagio and ends with structured movements and combinations across the floor. Isadora Duncan dancing is not ˛fliting around˛ like so many people think, nor is it ˛unplanned˛ ˛un-choreographed˛ interpretive dancing. Isadora˛s choreography has as much structure as music. Yet Isadora was always aware that technique is only a means to an end. An analogy can be made between the study and performance of music and that of Duncan dance. Appreciating a Chopin Nocturne requires an interpretation by a skilled and talented pianist. Similarly, a successful performance of Duncan dances takes a gifted dancer trained in the Duncan technique. Because Isadora Duncan broke away from the rigidity of classical balet, it was commonly believed that Duncan and ballet were incompatible and that balet training would actually hinder dancers learning Duncan. In my experience this is not so. Ballet training or rigorous training in modern dance can go a long way towards helping a dancer master Duncan technique