Duncan Festival 2014
May 25-28, 2014
13th annual international plastic dance festival to memories for Isadore Duncan. Evidently, people’s cultural values differ, and everyone has their own ones, but, still, who’s that Isadore Duncan and what had she done in culture and for culture? For a man-in- the-street this question was, and , probably will stay a hidden secret, sealed book. A limited group of existential aesthets would be confident that she was Esenin’s wife, and that was her main and only merit. wanton, rowdy, flamboyant woman” – everyone is looking for, and finds something that correlates with his or her upbringing, education or personal values. Yes, she was quite a real person, but what would her place in culture be if she hadn’t created something that’s more and different? It’s quite natural and important to know her weaknesses and life errors, but it’s also necessary to understand that all these rumours are secondary and non-essential. Isadore Duncan Festival is dedicated to Duncan, but it’s not about Duncan in a private capacity. Isadore Duncan is alive, because the world of pure art ideas is alive, which she was able to touch as a chosen one. A person doesn’t create the world of absolute harmony and moral imperatives, but only receives the right to approach it, if honoured. It’s impossible to purposefully create something which cannot have a reasonable creation plan “for any decent term”. Anyone who promises in advance to create a masterpiece, usually emits a meaningless sound. The ancient Greeks were the first to guess it, so Isadore Duncan justly admired them so much. She wasn’t the first, but you should be aware that she wasn’t the last either. Her dance isn’t a trick, it’s a natural and coherent movement image, which will sooner or later be followed by all normal people. The dance of future isn’t an empty phrase or commonplace – it’s an absolutely well-founded forecast.
About imitators. Is it hard to start dancing like Duncan? Very easy. Need to wear a tunic, take off shoes, get on stage and start randomly waving arms and legs bullying following their higgledy-piggledy emotions. This convinced the majority of the petty persons, and so strongly believe almost all the classical ballerina. About this Duncan dance had once told in a ballet childhood in quotations from great encyclopedia of ballet. The fact that Isadora Duncan is not just "improvised" and not higgledy-piggledy jumped on stage, but danced to music, that music is generally very important in Duncan dance, they usually do not even realize. Because the music does not matter to them, music to them - is nothing more than a pleasant backdrop of acrobatic and gymnastic exercises. What can we say, classical ballet - this is not a dance, and even more so it is not a classical dance. Classical ballet - a cross between a straight as a board pantomime and unpretentious circus arts. Classical dance - a dance of Duncan, and only such dancing is on par with classical music, only this dance aims at the synthesis of movement and music, aims to create polyphonic and symphonic compositions. But it's all too complicated, too difficult in theory, and even more difficult in the practical implementation. Much easier to provide external similarity, imitate the movement "a la Duncan", and then go tell everyone that all the Duncan merits before art of dance - it barefoot dancing, and she deserved her popularity as a charismatic personality, and because she was married to Yesenin.
...to Classical ballet
About a duncan style gist. Someone says that Duncan - it's something piece, one at a time, cut off from all around the existing. This attitude is typical for people who mainly treats Duncan as a form, but not the essence. In fact, if we take as duncan thinking as the same philosophy, we get quite a different picture. If we are talking about free movement of free spirit in a free body, then virtually every child, every girl from birth - duncan people. Yes, the movement of her unpretentious and sometimes primitive, sometimes they have a significant element of the primitive, but it is there and obviously duncan style. This then, adults of the same classical choreography or classical ballet, kill, destroy and "burned with a hot iron" in the child "duncan spirit", creative and positive thinking, turn it into a mechanical robot, following the metronome, a puppet, blindly subordinate to the will of the choreographer, in uncomplaining animal, which can affect only through training. Call it differently as a crime against the human person can not. Although, of course, you can understand where it grows, such a system of education - from primitive times when people fought for their own basic survival when gregarious and totalitarian schemes of community were prioritized. But now times have seemed to others, at least for the "golden billion" of humanity, and the choice between romanticism and pragmatism, apparently, and it is quite possible to choose first.
...to little Isadora
About profanators and counterfeiters. And in this connection it appears a natural consequence, saying that duncan style - it's not a question of academic and choreographic education, degree or other external formal signs of "civilization" - it is a question of attitude and mindset. That is, a person can have two degrees, can live in the capital, maybe even engage in musical movement studio and considered himself a follower of Duncan, but for all this to duncan style he will not have any relationship, and is likely to be those who own Duncan considered imitators, profanators and counterfeiters. "I put your wreath on the grave of my hopes" - it might not be transmitted verbatim phrase Duncan, but very important indeed. That people can dance on stage, if they have nothing to say anything? - Produce a set of sophisticated audience, but senseless movements "a la Duncan"? Duncan style - this is not a dance, and philosophy of life. And in some remote little village can accommodate any illiterate grandmother, who had never heard the name of Duncan, and who never studied dance plastic, but which may still be duncan people no matter what. Harmonious spirit itself naturally creates a harmonious dance, and formal education and technical dance skills here at all, and not primary.
ENTRANCE FREE to all festival measures.
(Possible change, keep a check on site renovations)
05.25.2014 (sun) - Day of NATURES (day 0). 11:00am-07:00pm. A trip to nature.
05.26.2014 (mon) - Day of SCHOOL (day 1). 12:00am-06:00pm. Workshops.
05.27.2014 (tue) - Day of BIRTH (day 2). 07:00pm-09:00pm. Gala Concert.
05.28.2014 (wed) - Day of SCIENCE (day 3). 03:00pm-09:00pm. Scientific Conference. 06:00pm. "Principles of Scientific aesthetics: Psychoanalysis in the dance." Theme: "Avant-garde art, music and dance. Cacophony against New Harmony."
FESTIVAL PARTICIPANTS (DECLARATION)
Pamela De Fina [France]
Cynthia Word [Annapolis]
Rebecca Bachar [Fairfield, Iowa]
Lucas Thanos [Athens, New York, USA]
Lucas Thanos, is a composer, explorer of Contemporary Choreography and a persistent scholar of Ancient Greek Tragedy. He studied Theatre, Music, Dance and Philosophy in Athens, Rome and New York. He researched for many years the dance philosophy of Isadora Duncan, serving as adviser of her family as well as reviver and Artistic director of the 'Isadora Duncan Center for the Studies of Dance'. At the Festival will be presented Opera 'Isadora'. Music and libretto by Lucas Thanos, directed and choreographed by Lucas Thanos. Giannis Siamsiaris as Gordon Craig.
Adam Kraar [New York, NY, USA]
Adam Kraar's plays include Wild Terrain (EST Marathon of One-Act Plays), Empire of the Trees (NY Innovative Theatre Awards nominee, Outstanding New Script), Freedom High (Queens Theatre in the Park), New World Rhapsody (Manhattan Theatre Club commission), and The Spirit House (premiered at Performance Network of Ann Arbor). His plays have been produced and/or developed by Primary Stages, N.Y. Stage & Film, Public Theatre, The New Group, Geva Theatre and others. Plays published by: Applause Books (including work in five editions of Best American Short Plays), Dramatic Publishing and Smith & Kraus. Awards: Sewanee Writers' Conference Fellowship, Inge Center Residency, Manhattan Theatre Club fellowship. Core Alumnus, The Playwrights' Center; Member, Ensemble Studio Theatre. M.F.A., Columbia University. Adam grew up in India, Thailand, Singapore and the U.S. Adam writing a play with dance DANCING ON THE EDGE about Isadora Duncan's time in Russia.
Emi Yagishita [Waseda, Tokyo, Japan]
Doctral Course Student. Graduate School of Letters, Arts and Sciences. Cultural Sciences Theatre and Film Arts (Danca Studies). Research Fellow of the Japan Society for the Promotion of Science. Emi Yagishita studies on Isadora Duncan at Waseda University (Ph.D Course) in Japan. Guest Speaker.
mobile: +81-90-9907-0422 (Japan)
call: Emi Yagishita
If you have a specific question about organizations of the festival, you may assign this question to Emi Yagishita, on-line festival consultant, world undergraund festival coordinator at relationship with foreign guest of the festival.
Tatiana Sych ` technical administrator [+7(981)747-51-60 (St.-Petersburg, Russia)] ` e-mail: email@example.com ` skype: vuillaumetatiana
Olga Troul, artistic director
Andrei Panov, project manager
Tel. +7(812) 570-11-04 (St.-Petersburg, Russia)
Address: Olga Troul, Konnogvardeisky Boulevard 9-13, St. Petersburg, Russia, 190000.
prospekt Bol'shoy VO, 65
bulvar Konnogvardeyskiy, 9, St Petersburg, Russia, 190000 ` https://www.couchsurfing.org/people/isadora-duncan-center/
Nevsky prospekt 86
Saint Petersburg metro
A taxi from the airport to the city center .. $ 20-40
Travel on public transport .. $ 1
Buffet .. $9 (€7)
One dish in the usual restaurant .. $ 10
Restaurant per person (full meal) .. $ 50 (min)
Public toilet .. $ 0.5
Night in a hotel (***) .. $ 100-200 per night
Hotel by type (*) .. $ 20 per night
Guide-interpreter (full day) .. $ 100
On-Line VISA SUPPORT
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