By P.J. Hillery
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Additional resources for Georgian: The Kartvelian Literary Language
Sample text
In any case, space, whether considered as an enemy to be grappled with and overcome, a r as the dancer's special life-giving atmosphere, is a tangible substance incorporate in the German modern dance. The idea began to take shape in the work of 17 Forerunners: Mary Wigman Rudolf von Laban, a Hungarian dancer, who experimented with a crystal icosahedron to find the potential movement directions and movement qualities of man. How he expected to find them in a many-sided geometric object big enough for a man to enter instead of in the body of man himself in unrestricted space, some more sympathetic person will have to explain.
T h e skirt dance also ensued, and Ruth St. Denis may have been mildly infected. T h e young Isadora was thrilled a t the spectacle, but felt no compulsion to incorporate the practice into her own dance. , in My Life, of her encounter with this originale and her entourage of beautiful but over-affectionate girls. Isadora preferred gentlemen-admirers. T h e Canadian-born Maud Allan, less conspicuous for novelty, danced in the free, plastic mode to the lighter classics of musicMendelssohn's Spring Song, Rubinstein's Melody in F, Grieg's Peer Gynt Suite, and so on.
There were lapses and lapovers, interruptions by company tours and individual tours. Sometimes Ruth, always the prima donna, would retire from the scene and it would become the Ted Shawn School of Dance. Then Ruth would come back and it would be Denishawn again; or Ted, not without an ego of his own, would go off by himself, and the sign would read the Ruth St. Denis School. Sometimes the sign would be taken down altogether and there would be no school. Nevertheless, from 1915 to 1932, first in Los Angeles and last in New York, with a period of branch schools between, Denishawn existed with some sort of actuality as a place where dreams bigger than its billfold sometimes came true.
