If I could tell you what it meant, there would be no point in dancing it
Isadora DuncanRead
The dancer of the future will be one whose body & soul have grown so harmoniously together that the natural language of the soul will have become the movement of the body.
Interpretation
The ideal dancer embodies a deep connection between physical movement and inner expression.
Isadora Duncan emphasizes the profound relationship between a dancer's physicality and their inner emotional and spiritual life. In her vision of the future, she suggests that the most exceptional dancers will move in ways that naturally express their souls, indicating that true artistry comes from a harmonious integration of one's essence and physical expression.
In practice
When discussing the importance of emotional expression in art, you could use this quote to illustrate your point.
If I could tell you what it meant, there would be no point in dancing it
A dancer, if she is great, can give to the people something that they can carry with them forever. They can never forget it, and it has changed them, though they may never know it.
Master technique, so that technique NEVER prevents you from dancing.
Oh Woman, come before us, before our eyes longing for beauty, and tired of the ugliness of civilization, come in simple tunics, letting us see the line and harmony of the body beneath, and dance for us. Dance us the sweetness of life. Give us again the sweetness and the beauty of the true dance, give us again the joy of seeing the simple unconscious pure body of a woman. Like a great call it has come, and women must hear it and answer it.
I have only danced my life. As a child I danced the spontaneous joy of growing things. As an adolescent, I danced with joy turning to apprehension of the first realisation of tragic undercurrents; apprehension of the pitiless brutality and crushing progress of life.
There are likewise three kinds of dancers: first, those who consider dancing as a sort of gymnastic drill, made up of impersonal and graceful arabesques; second, those who, by concentrating their minds, lead the body into the rhythm of a desired emotion, expressing a remembered feeling or experience. And finally, there are those who convert the body into a luminous fluidity, surrendering it to the inspiration of the soul.
We wait for the tortoises to come. We wait for that lady who walks them. That’s how art works. It’s never a jackrabbit, or a racehorse. It’s the tortoises that hold all the secrets. We’ve got to be patient enough to wait for them.
I have designed my style pantomimes as white ink drawings on black backgrounds, so that man's destiny appears as a thread lost in an endless labyrinth. I have tried to shed some gleams of light on the shadow of man startled by his anguish.
To be a performance artist, you have to hate theatre. Theatre is fake... The knife is not real, the blood is not real, and the emotions are not real. Performance is just the opposite: the knife is real, the blood is real, and the emotions are real.
I decided at 15 that I didn't want to be one of those artists that gets up and sings love songs they don't mean. I decided that I was going to be me to the fullest extent, that my songs were going to reflect relationships I've had, things I've been through, and even the stuff I'm embarrassed about.
Drag, at its core, is about honoring yourself and your own unique way of being a gendered, queer person. Your own unique way of using fashion to express yourself.
I treat auditions like I treated my first dates. It's an opportunity to get to know a stranger and to learn from each other.
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