![]() She’d lean, kneel and fall with lilting movements. The face and neck were mobile and expressive the torso was freed completely and flexible. Her hands and fingers could take many different positions, according to the intensity of the expression, but would never follow preconceived or artificial shapes. There were no poses and movement was mainly undulating and fluid, round and more symmetric than asymmetric. The arms were extended freely without any defined position. She’d raise legs forwards with bent knees, the foot without extension of the instep, the head tilted. She based her dancing experience in a slight intensification of natural movements: slight runs, no big extensions of the legs, no big jumps. “Her dance lacked of all kind of technical virtuosity, as well as of any traditional ballet steps. ![]() History tells us that her lyricism, vitality, charismatic personality and own sense of the ‘natural’, gain her to be taken in by Europe as a fresh and new message. Visiting London, Paris, Berlin, Greece and Russia, she performs, creates schools and dedicates herself to the contemplation and study of the ancient Greece collections displayed in museums. She travels to Europe, where she’ll be more celebrated than at home and lives the essential part of her career. This is how she starts an artistic research and journey that will last till the end of her life. She takes ballet classes but rejects them soon, arguing that she wants to create a different dance, free from the conventions of classical ballet and closer to her temperament. ![]() She expresses her inclination for dance from the very early age of five and since then she achieves to gather other kids to give them dance lessons. Isadora is born in San Francisco and grows up within a family for which playing music, reading poetry and dancing are common activities. While still occasionally coaching younger dancers, in 1996 Gamson returned to painting, an earlier interest.Isadora Duncan Photos Courtesy of the Isadora Duncan International Institute, Inc., New York, New York. Gamson’s own choreography revealed the dynamic influence of her predecessors, and she passed on her knowledge of their work to younger performers. She celebrated the twentieth anniversary of her solo career in 1994. Later, she added the solos of Eleanor King, an American modern dancer who had performed with the Humphrey-Weidman Company. Her performances of Summer Dance, Pastorale, and the Witch Dance brought her additional critical acclaim. To generations of dance lovers, for whom Duncan was a legend previously accessible only through writings and artistic representation, Gamson imbued the dances with a musicality and dynamic spirit that, while never intending to mimic Duncan, gave some sense of what was essential in Duncan’s choreography and the apparent spontaneity of her performance.įollowing this success, Gamson began work on the solos of another pioneer of modern dance, German expressionist Mary Wigman. Through her extraordinary performances, Gamson gave audiences the opportunity to understand and appreciate the craftsmanship of Duncan’s choreography, forever doing away with the rumor that Duncan’s dances were improvised. ![]() The Duncan pieces made an enormous impression. In 1974, at the American Theater Laboratory in New York City, she performed Duncan’s Water Study (Schubert), Five Waltzes (Brahms), Dance of the Furies (Gluck), and Étude (Scriabin), as well as her own work. In the early 1970s, Gamson resumed her studies with Levien, for there was something in Duncan’s work she had not found in any other kind of dancing.
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