Isadora Duncan Quotes

Love is not the sacred thing that poets talk about … Love is an illusion; it is the world's greatest mistake. I ought to know for I've been loved as no other woman of my time has been loved. Men have threatened suicide, they have taken poison, they have fought duels for me. All kinds have come to me — geniuses, poets, millionaires, artists, musicians — but now there is not one to whom I have appealed for the loan of £25 who have responded. There is love for you!

And here I want to avoid a misunderstanding that might easily arise. From what I have said you might conclude that my intention is to return to the dances of the old Greeks, or that I think that the dance of the future will be a revival of the antique dances or even of those of the primitive tribes. No, the dance of the future will be a new movement, a consequence of the entire evolution which mankind has passed through. To return to the dances of the Greeks would be as impossible as it is unnecessary. We are not Greeks and therefore cannot dance Greek dances.

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.

But the dance of the future will have to become again a high religious art as it was with the Greeks. For art which is not religious is not art, is mere merchandise.

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.

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.

Bernard Shaw says that as long as men torture and slay animals and eat their flesh we shall have war. I think all sane, thinking people must be of his opinion. The children of my school were all vegetarians, and grew strong and beautiful on a vegetable and fruit diet. Sometimes during the war when I heard the cries of the wounded I thought of the cries of the animals in the slaughterhouse, and I felt that, as we torture these poor defenceless creatures, so the gods torture us. Who loves this horrible thing called war? Probably the meat-eaters, having killed, feel the need to kill—kill birds, animals—the tender stricken deer—hunt foxes. The butcher with his bloody apron incites bloodshed, murder. Why not? From cutting the throat of a young calf to cutting the throat of our brothers and sisters is but a step. While we are ourselves the living graves of murdered animals, how can we expect any ideal conditions on the earth?

I have closely studied the figured documents of all ages and of all the great masters, but I have never seen in them any representations of human beings walking on the extremity of the toes or raising the leg higher than the head. These ugly and false positions in no way express that state of unconscious Dionysiac delirium which is necessary to the dancer. Moreover movèments, just like harmonies in music, are not invented; they are discovered.

I could not adopt him so I married him. You know how wonderful he is, like all Russians. He starts reciting verse at two o'clock in the morning.

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.