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她的一生，是燃烧的灿烂之旅，是绝处逢生的冒险，是绚烂之后的超脱。而镌刻在世人脑海中的，也许永远都是她那身披薄纱、赤脚起舞的不朽舞台形象，宛如森林中的美丽女神，诉说着生如夏花之绚烂。
Free thinking, free spirited, free moving Isadora Duncan brought her
bohemian feminist consciousness to the dance stage and changed the art of dance
forever. Although some critics ridiculed her flowing and expressive movements,
Isadora brought flexibility and self-expression to the hidebound world of
classical dance。
Isadora Duncan is known as the “Mother of the Modern dance”， but even
ballet was influenced by the radical élan of her ideas. In many ways her life
was tragic, but she left behind, not a sense of despair and loss, but the
dynamic imagination of a true original。
思想自由、精神洒脱、动作奔放的伊莎多拉·邓肯将其不羁的女权主义意识带到了舞台上，彻底改变了舞蹈这门艺术。尽管对她那行云流水般富有表现力的动作持嘲笑态度的批评家大有人在，但伊莎多拉却为死板的古典舞蹈界带来了灵动性和自我表现力。
伊莎多拉·邓肯被誉为“现代舞之母”，就连芭蕾也受到了她锐不可当的激进观念的影响。从很多意义上说，她的一生是悲剧性的一生，但她留给世人的却不是绝望和失落，而是对一个真正具有独创性的艺术天才的蓬勃想象。
An Early Dream in Childhood
Born the youngest child to Joseph Duncan and Mary Gray in 1877, Isadora was
the family’s bright star. Mary was a virtuous, high-principled lady. Joseph, the
poet, the dreamer, the connoisseur of arts, had lost his heart to another lady,
and Mary divorced him。
Isadora was a quaint child, a strange mixture of practical common sense and
worldly sophistication, and she was a dreamer like her father. She loved poetry,
beauty, and rhythm, and she hated reality. She was, in fact, a rebel. Her
childhood had been an unhappy one. There was strife and divorce, with her
mother’s insistence that her father was a demon in human garb. However, when she
eventually met her father, she found him a charming, lovable poet, and that
heightened the confusion in her mind. Passing years tend to soften the
intolerance of childhood, but Isadora Duncan never lost her contempt for the
institution of marriage as she had seen it. When she was twelve years old she
made a solemn vow that she would welcome love when it came, but she would never
marry。
After the divorce, Mrs. Duncan found a small home in Oakland for her brood
of four children. The constant poverty in which they lived was softened by the
wealth of poetry and music that Mrs. Duncan brought into the home. The four of
them loved to sing, loved to play-act, and above all, loved to dance. Isadora
Duncan danced as soon as she could walk. She read every book, good or bad, and
her reading carried her back to the classical culture of ancient Greece, and the
natural, unaffected, spontaneous Grecian art became her inspiration and dream.
Toe-dancing, social gymnastics, was to be scorned. She demanded, from the very
beginning, self-expression unrestrained by rule and custom。
童年梦想
伊莎多拉生于1877年，是约瑟夫·邓肯和玛丽·格雷夫妇最小的孩子，也是这个家里一颗耀眼的明星。玛丽是一位贤淑善良、操守极佳的女性。约瑟夫则是一位诗人兼梦想家，同时还是一位艺术鉴赏家，由于他移情别恋，醉心于另外一位红粉佳人，玛丽结束了与他的婚姻。
伊莎多拉是一个古怪有趣的孩子，一个奇特的结合体，既具有很实际的常识，又不乏世俗的圆滑老练，同时，和父亲一样，她还是一个富有梦想的女孩。她喜欢诗歌，爱美，对节奏韵律情有独钟;她憎恨现实。事实上，她是一个叛逆者。她的童年很不快乐，经历了父母的不合和离异，她的母亲始终认定父亲是个衣冠禽兽。然而，等到父女终得一见时，她却发现自己的父亲是一个极具魅力、招人喜欢的诗人，而这加深了她内心的困惑。岁月的流逝，常常可以缓和童年时代的偏执，可是伊莎多拉·邓肯却始终没有改变对自己曾目睹的婚姻制度所持的鄙视立场。12岁时，她庄严起誓，她不排斥爱情，但决不结婚。
离异以后，邓肯夫人为自己的四个孩子在奥克兰找到了一处小小的安身之所。
邓肯夫人为孩子们营造的充溢着诗歌和音乐的家庭氛围，缓解了他们一直以来生活上的穷困。他们兄妹四人都喜欢唱歌，喜欢表演，尤其喜欢跳舞。伊莎多拉·邓肯刚会走路时便能翩翩起舞了。她博览群书，无论好坏什么都读，阅读将她带回到了古希腊的经典文化，而自然天成、单纯率真、豪不造作的希腊艺术成了她的灵感源泉和梦想所在。踮起足尖舞蹈——这种社交体操将为她所不齿。从一开始，她就寻求不受规则和习俗所约束的自我表现。
Theatrical Life
Isadora didn’t like poverty and she didn’t like restrictions. There were
distant horizons awaiting her. She read about them in her books, the faraway
places that call to all imbued with the creative instinct. Any place would do as
long as it was “away”. She induced her mother to take her to Chicago. Funds were
found and, armed with a wealth of enthusiasm, mother and daughter started
out。
The Eastern theatrical managers saw the girl dance, praised her, and told
her it was all very lovely. But, after all, that wasn’t the accepted way to
dance; it wasn’t the way of the theater. She’d better go home to San Francisco
and be a schoolteacher! Their funds were gone, so they pawned their jewelry.
Finally, starvation, not a threat but an actuality, faced them, and then Isadora
received an engagement. At last, she was to dance in a music hall. In a fogged
atmosphere of stale beer and tobacco smoke the girl appeared, a breath of
ancient Greece. Her audience chewed on its cigars. This certainly wasn’t what
they’d come to see! In short, they wished she’d get through so the next act
could appear。
But in the audience one night sat a dreamer like herself. He was Augustin
Daly, the theatrical producer. He saw what none of the others had seen—the
vision, the ideal, and the dream behind the dancing of the girl. He cast her as
one of Titania’s dancing fairies in his production of A Midsummer Night’s Dream.
Perhaps she couldn’t force her audience to understand the beauty of simplicity,
but at least this gave her the opportunity to dance, and to eat。
Thus the family settled to New York. One night Isadora danced to the music
of Ethelbert Nevin; Nevin was in the audience, entranced. He arranged for
concerts for her and suddenly blasé New York hailed a new star. Society accepted
her. She danced for the four hundred in Newport’s exclusive salons. They made
much of her, but just as swiftly they dropped her. And again the family purse
was empty。
剧院生涯
伊莎多拉不喜欢穷困潦倒，也不喜欢条条框框的拘束。在遥远的地平线上，有什么正等待着她去追寻。她在书中读到过那些遥远的地方，那些向所有所有充满创作天赋的发出呼唤的地方。不管这些地方在哪儿，对她来说只要是“远在他乡”就行。她劝服母亲带她去芝加哥。资金终于凑足，怀着满腔热忱，母女俩出发了。
东方的剧院经理们看过小姑娘的舞蹈后，对她称赞有加，说她跳得实在是妙极了。不过话又说回来，她的舞蹈毕竟不是公众认可的跳法，也不对剧院的套路。所以她最好还是打道回府，去旧金山当一名教师算了!钱已经花光，母女俩只好当掉了首饰。最红，饥饿之灾，不是饥饿的威胁而是实实在在的饥饿——摆在了母女俩的面前。然后，伊莎多拉接到了一纸聘书。终于，她就要在一家剧场里跳舞了。在剧场那烟雾缭绕、酒气熏天、浑浊不堪的氛围中，小姑娘登场了，带着一丝古希腊的气息。她的观众兀自嚼着口中的雪茄。这无疑不对他们的胃口!简而言之，他们希望她赶紧跳完，好让下一个节目登台。
但是，有一天晚上，观众席中来了一位和她一样怀揣梦想的人。此人便是戏剧制作人奥古斯丁·戴利。他看到了别人没有看到的东西，那便是女孩舞蹈背后的憧憬、理想和梦想。他让她在他编排的《仲夏夜之梦》中出演了一个角色——泰坦尼亚王后的一个舞蹈仙女。也许她不能强迫自己的观众理解朴素之美，但是至少，这给了她跳舞——以及糊口——的机会。
就这样，他们一家人在纽约安顿了下来。一天晚上，伊莎多拉以埃塞尔伯特·内文的音乐为伴奏舞了一曲;内文当时就在观众席中，他看得入了迷。他为她安排了几场音乐会，冷漠的纽约一下子沸腾了，为一颗新星的诞生而欢呼。社会认可了她。在纽波特限制慎严的沙龙里，她为上层社会的人士跳舞。他们极力吹捧她，但就像这吹捧来得迅猛一样，他们抛弃她的速度也同样迅疾。于是，家里的钱袋子又空了。 |
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发表于 2016-7-10 17:33:02