Modern dancing and dancers

In Short

This book is a critical survey of the state of dance during the first decade of the twentieth century, a period defined by the decline of traditional British ballet and the sudden, electric arrival of the Russian school and modern pioneers. The author navigates the tension between rigid academic technique and the search for authentic emotional expression. By documenting the careers of legends like Marie Taglioni, Isadora Duncan, and Anna Pavlova, the text explores how dance transcends mere spectacle to become a profound, eternal language of human passion.

The Story

The narrative begins with a philosophical defense of the dance. In an age preoccupied with "problem plays" and social agendas, the author argues that dance should be judged not by its intellectual message, but by its ability to evoke ecstasy. This sets the stage for a historical examination of the classical ballet tradition, centered on the towering figure of Marie Taglioni. The author describes how Taglioni broke free from eighteenth-century artifice, introducing a refined, Madonna-like grace that turned the ballet into a truly poetic endeavor.

The story of the ballet then moves through the "marvellous forties," highlighting the technical brilliance of Carlotta Grisi and Fanny Cerito. However, this golden age eventually faces a decline in England. The author traces this decay to the emergence of the "spectacle" at theaters like the Alhambra, where the art of the ballerina was buried under heavy, unmeaning scenery and mechanical, soul-less choreography performed by troupes of indifferent bread-winners. As the traditional ballet withered into a boring, static pageant, the British public turned toward the lighter amusements of the skirt dance.

Contrasting this stagnation is the rise of the radical "new" dancers. The author chronicles the career of Loie Fuller, whose accidental discovery of the interplay between silk, light, and movement ushered in a new era of theatrical innovation. Parallel to this, Isadora Duncan appears as a transformative force. Though initially mocked by humorists for her "Greek" revival, she eventually finds an international audience, teaching the world to value the soul over the coquettish tricks of the popular performer.

The arc reaches its climax with the arrival of the Russian Imperial Ballet in London. The author paints the Russians as a revelation, noting how they introduced a "new continent" of beauty to British audiences. Through the work of Leon Bakst, who elevates the stage decorator to a master of the ensemble, and the performances of Vaslav Nijinsky and Anna Pavlova, the ballet finds a new life. The book concludes by considering the future of the art form, looking at the revival of English folk-music and the Morris dance as a potential path toward a national artistic renewal. The author leaves the reader with the conviction that the dance is not a relic, but a living, evolving tradition that must adapt to the introspective needs of the modern age.

How It Unfolds

The philosophical grounding The author establishes that dance is a serious art form because it expresses ecstasy, which is more eternal than the fleeting social problems tackled by contemporary literature. He argues that the quality of emotion, rather than the subject matter, is the true mark of artistic gravity.

The classical legacy The focus shifts to the nineteenth-century icons like Taglioni and Grisi, whose technical mastery and ability to embody character—most notably in the ballet Giselle—set the gold standard for the art. Their influence is framed as the high-water mark from which subsequent generations inevitably strayed.

The period of decay The text details the decline of the English ballet as it transitioned into a bloated, ornamental spectacle under the direction of impresarios like Sir Augustus Harris. This section highlights the transformation of the dancer into a mere member of a mechanical chorus, leading to the art form's loss of prestige.

The modern resurgence The narrative introduces innovators like Loie Fuller and Isadora Duncan, who challenged the rigid conventions of the past with their focus on natural movement and emotional authenticity. Their work acts as a bridge between the fading academic tradition and the coming modern era.

The Russian triumph The final movement centers on the impact of the Diaghilev-era Russian Ballet, which redefined the stage through the synergy of music, painting, and movement. The author examines figures like Pavlova and Nijinsky as embodiments of this revolutionary, totalizing aesthetic.

The People

Marie Taglioni stands as the archetype of the classical ballerina. She is defined by her "Catholic" rather than "pagan" restraint and her ability to intimidate managers with her fiery temper while simultaneously enchanting the public with her demure, Madonna-like presence.

Isadora Duncan acts as the great reformer. She is presented as a poet of the body, whose movement is rooted in the soul rather than the superficial techniques of the ballet school. She faces initial rejection from a confused public but eventually succeeds by appealing to the eternal, rather than the contemporary.

Loie Fuller is the accidental pioneer. She begins as an unassuming performer but finds her calling when she realizes that a simple piece of silk, when illuminated by changing light, can create a transformative spectacle. Her story underscores the role of personal discovery in shaping modern art.

Adeline Genée represents the bridge between the old and the new. She is described as a "comedian" who manages to preserve her humanity and intelligence within the strict confines of the haute école, making her a cherished figure in a time of artistic transition.

M. Leon Bakst serves as the primary visionary behind the scenes. He advocates for the "plastic intelligence" of the painter, arguing that the stage designer should be the master of the entire theatrical production, subordinating all other elements to his artistic vision.

In Its Own Voice

"The dance expresses the most serious thing in life--that is, ecstasy." The author defends the inherent importance of dance against critics who demand that all art must serve a social or political message.

"It is the painter who must be master of the situation, understand its finesse and decide the style of the piece." The author quotes the designer Leon Bakst, who champions a new, visually integrated approach to the theatrical experience.

What It's Really About

The central argument of the book is that the health of an art form depends on its ability to evolve without losing its soul. The author is deeply skeptical of art that tries to be a "blue-book" for social problems, suggesting instead that the "seriousness" of the dance lies in its emotional truth. He explores the tension between the necessary discipline of technical training—the "hidden law"—and the seductive but dangerous freedom of "natural" dancing. Ultimately, the book is a meditation on how tradition functions; it suggests that to revive a dance tradition is not to copy its old forms, but to capture the spirit of emotional expression that made it vital in its own time.

Why Read It Today

Readers who appreciate the history of the performing arts will find this an invaluable time capsule. It captures the exact moment when the "Russian invasion" of the London stage forced the British public to reckon with their own aesthetic complacency. The prose is warm and opinionated, written with the confidence of someone who has actually spent many nights in the stalls of the Alhambra or the Empire.

Modern readers should be prepared for the author's period-specific sensibilities; he expresses a clear, sometimes sharp, hierarchy of artistic value, and his commentary on the "boors" and "peasants" of the past reflects the social attitudes of the Edwardian era. However, these biases are part of the book’s character, not a barrier to enjoying his vivid descriptions of performances that no longer exist. You will likely find the author’s disdain for "problem plays" and his love for the "eternal" nature of the dance to be strikingly relevant. It is a book that stays with you, leaving you with a heightened awareness of how even the most fleeting, "swooning" moment of stage art can leave an indelible mark on the cultural consciousness of a generation.