Skip to main content
Back to search
  • Add to playlist

La Mère

La Mère

Mère (La)

This solo is part of a dance ensemble, Impressions de Russie, on three studies by Scriabin. Isadora Duncan arrived in Moscow a few months earlier to found a dance school. In the penury then affecting the whole of Russia, Scriabin’s mystical tones accompany the pain of a mother orphaned from her children.

This gestural dance takes place on a single diagonal symbolising the course of life. A woman bends over, like a child that she seems to pull out from the earth. The phrasing of the gestures sculptures the space between the child evoked and the mother. The dialogue and their imaginary body to body encounter are enveloped in an earthly sluggishness fuelled by the ternary circle of the music. “True dance is the strength of pain” writes Duncan. The child wanders off, she follows it with her gaze, it comes back, she embraces it fervently and lays it down in front of her. But her fingers, in a last caress, find only the ground. Still on the ground, the mother stretches her body to the distance in an ultimate gesture of farewell, of adieu.

Source Dictionnaire de la Danse (CCN - Ballet de Lorraine 2004 - 2005)

Duncan, Isadora

Born Isadora Angela Duncan in San Francisco on May 26, 1877, Isadora discovered the joy of dance in nature, amidst the wind, sea and waves at the beach as a young child. Her home provided artistic and intellectual riches – even though her father left the family in financial straits soon after Isadora was born. Isadora’s mother, Mary Dora Gray, was a skilled pianist and teacher, who played Beethoven and Schubert for the children and read Shakespeare, Shelley and Browning to them. Isadora’s brother Raymond was a dramatist, Augustine an actor, and Elizabeth and Isadora danced and taught dance classes from early ages as the family scrambled financially. 


Isadora left San Francisco for Chicago with her mother in 1895 where she danced at the Masonic Temple Roof Garden and auditioned for Augustin Daly’s theatre company. She joined Daly’s company, moving to New York with most of her family. She toured America and went to London with the Daly company. Displeased with what she considered a trivial role of dance in the theatre productions, she quit the company in 1898. Isadora danced in private salons, and first danced at the Music Room in Carnegie Hall, in collaboration with composer Ethelbert Nevin, in a program including Nevin’s Narcissus, Ophelia and Water Nymphs on March 24, 1898. She described her dance as “movement expressive of thought” in her early lectures. 


In May 1899 Isadora and family traveled to London, in search of ways to deepen and broaden her art. Isadora studied the Greek and Roman antiquities at the British Museum. After meeting artist Charles Hallé, she performed for prominent Londoners at his New Gallery, dancing the legend of Orpheus, to music of Gluck. In “The Art of the Dance” Isadora described herself as neither the narrator nor the character of the myths she danced, but the “soul of the music”, a “role reserved by the Greeks for the Chorus.” 


The following year Isadora followed her brother Raymond to Paris, where he sketched and she studied the Louvre’s Greece vase collection. After a tour with Loie Fuller’s company, Isadora was invited to perform her own programme in Budapest, Hungary (1902), where she danced to sold-out performances with full orchestra. Her famous encore was The Blue Danube. Performances followed in Berlin, Vienna and Munich. Many artists were to draw and photograph her including Emile-Antoine Bourdelle, Peter Berger, Robert Henri, August Rodin, Jose Clara, Jules Grandjouan, Valentine Lecomte and Abraham Walkowitz. Her European success allowed for a trip to Greece (1903), time to appreciate the art and ruins, to purchase land, and to perform in front of the Greek royal family, including King George.


In January 1905, Isadora accomplished a long-time goal, as she opened her first school for twenty children in Grunewald, Germany. In true visionary style, the children were given free room, board and instruction in dance, music and literature. They wore tunics and sandals and were surrounded by great artworks indoors and nature outdoors. Among these first students were the six who were adopted in order to enter the United States during World War 1 and would later be dubbed “the Isadorables” by the French press: Anna, Erika, Irma, Lisa, Margot and Marie-Theresa. She was able to establish a second school which she named Dionysian at a mansion in Bellevue, outside of Paris, in 1914, with financial help from Paris Singer. Bellevue was later given to the Red Cross as an army hospital at the start of World War I. Isadora and her students then met in America, where “the Isadorables” debuted at Carnegie Hall, in December 1914. Isadora regularly left her schools to tour and perform in order to sustain the school and to support members of her family, a recurrent theme throughout her life. While away, her sister Elizabeth often acted as school director and teacher. 


Isadora’s legacy as the “Mother of Modern Dance” is seen in the progression of her repertory, from the lyrical dances to classical composers like Chopin, Brahms, Strauss and Schubert (a radical use of classic music at the time), to the dances of Greek myths, archetypes, human emotions and later in her heroic dances of nationalism (La Marseillaise, Rakoczy March). Isadora and Irma traveled to Russia in 1921, at the invitation of the Russian government, where they formed a third school for children. Isadora danced the Revolutionary, and dedicated songs and dances to the Russian workers and for the Russian children. What had started as lyrical, free spirited, barefoot dance, a rejection of the stilted ballet world of her time, deepened with her life experiences, travel, and with the influence of a wide range of artists, poets, composers and intelligentsia in her circle. Although Isadora was drawn to Greek myths and philosophy, she recreated, rather than copied, ancient themes. She defined the solar plexus as the “central spring of all movement” (Duncan, “My Life”). As a performer, she continued to move audiences deeply throughout her career, as evidenced by reviews and personal accounts.


A revolutionary thinker in women’s issues, espousing freedom for body and spirit, Isadora vowed never to marry. From her first long-term relationship with famous British set designer, Edward Gordon Craig, her daughter Deidre was born (September 24, 1906). With Paris Singer, she bore her son Patrick Augustus Duncan (born May 1, 1910). Both children died in a tragic accident on April 19, 1913. Isadora’s devastation is later reflected in her choreography Mother


Although Isadora’s success blossomed in Europe and led to travel to Egypt, South America and Russia, she returned to tour America several times. Many of her Isadora’s programs are shared in Private Collections. Isadora was generally well received in America, until her visit in 1922 with Soviet poet and husband Sergei Esenin, (married to allow him a travel visa), when anti-Soviet feelings ran high in the United States. 


In 1927, Isadora agreed to publish her memoirs “My Life” and finished writing and dictating them to her secretary. Her last performance was at the Mogador Theatre in Paris on July 8. Isadora was accidentally killed in an automobile, near her studio in Nice, on September 14, 1927, at age 50. Her enduring legacy continues to inspire new generations of dancers.


Source : Isadora Duncan’s Archives website


More information : 

http://www.isadoraduncanarchive.org/ 

Schwartz, Elisabeth

Elisabeth Schwartz - dancer, choreographer, historian, trained in New York studying ballet with Margaret Craske, modern technique with Merce Cunningham, and Viola Farber. During this time quite by accident she began studying the dance of Isadora Duncan with Julia Levien, world renowned specialist in the repertory of Isadora Duncan. Since her return to Paris is 1984 she has presented solo and group works of Isadora Duncan with her company L’Onde at Festival de Monpellier, Chateauvallon, Biennale de Lyon…and in Prague, Geneva, Budapest and Berlin. In 1996, she became certified as a CMA and began teaching Effort Shape at the Université Paris VIII Saint Denis. Ms. Schwartz has done extensive research on “free dance” and has collected film archives of dancers from the beginning of the century. This montage has been presented at Cinémathique Francaise in Paris and throughout France. She has also written many articles on dance specifically analyzing the styles and techniques of Rudolf Laban, Ted Shawn, Mary Wigman, Isadora Duncan, Doris Humphrey, Martha Graham, and Velska Gert.


In addition to La Danse Libre, Ms. Schwartz has been part of a number of film projects in France including Jaillissements (1990 DIRECTOR: Raoul SANGLA) a film which evokes the artistic proximity of Auguste RODIN and Isadora DUNCAN through the communal movements of sculpture and dance. This contemporary interpretation of Isadora DUNCAN's dance reveals its innate modernism. Recently she appeared in interviews and danced in the Elizabeth Kapnist film, Je n'ai fait que danser ma vie.

Elisabeth holds a PhD in Arts and Performance (with a focus on Isadora Duncan) from the Université Charles De Gaulle, Lille 3, France, under the direction of professor Claude Jamain.


Elisabeth Schwartz is a nationally known and respected dancer and teacher throughout France and is now the Inspectrice de la danse for Les ecoles des arts de la Ville de Paris. She has made innovations in dance offerings and implementations for teachers and students. Ms. Schwartz is also a certified Labanotation reconstructor and has used her expertise to set historic works on professionals as well as students. In one recent project she set Ted Shawn’s Polonaise on the French Hip Hop group Acsendance. Ms. Schwartz recently directed dancers from the Paris Opera Ballet in two Duncan solos,performed as part of the special event, 20 dancers for the 20th century. Her openness to mix historic and contemporary forms has brought divergent audiences together to celebrate the past, present and future of dance as an evolving art form.


Source : Website of Isadora Duncan’s archives


More information :

http://www.isadoraduncanarchive.org/dancer/108/ 

Bourgeais, Isabelle

Faggianelli, Tristan

CCN - Ballet de Lorraine

Since acquiring the CCN title in 1999, the Centre Chorégraphique National - Ballet de Lorraine has dedicated itself to supporting contemporary choreographic creation. As of July 2011 the organization is under the general and artistic direction of Petter Jacobsson.
The CCN – Ballet de Lorraine and its company of 26 dancers is one of the most important companies working in Europe, performing contemporary creations while retaining and programming a rich and extensive repertory, spanning our modern history, made up of works by some of our generations most highly regarded choreographers.
The CCN functions as an art center and venue for multiple possibilities in the fields of research, experimentation and artistic creation. It is a platform open to many different disciplines, a space where the many visions of dance of today may meet. 

More information : http://ballet-de-lorraine.eu 

La mère

Choreography : Isadora Duncan // Transmission de la danse : Elisabeth Schwartz

Interpretation : Axelle Trinchero

Original music : Scriabine - Etude n°1 op. 2

Lights : Thibault Leblanc

Our videos suggestions
03:01

Hard to Be Soft

Doherty, Oona (France)

  • Add to playlist
03:01

Peekaboo

Goecke, Marco (France)

  • Add to playlist
03:46

La Valse de Vaslav

Tompkins, Mark (France)

  • Add to playlist
06:12

Ô Solitude

Yepes, Ana (France)

  • Add to playlist
02:42

Die Grüne Tisch (La Table verte, solo de la mort)

Jooss, Kurt (France)

  • Add to playlist
01:56

Tod

Gert, Valeska (France)

  • Add to playlist
05:01

Hexentanz

Wigman, Mary (France)

  • Add to playlist
01:53

Japanische Groteske

Gert, Valeska (France)

  • Add to playlist
01:31

Canaille

Gert, Valeska (France)

  • Add to playlist
04:28

Narcisse

Duncan, Isadora (France)

  • Add to playlist
04:17

Atys

Lancelot, Francine (France)

  • Add to playlist
09:30

L'après-midi d'un faune (1912)

Nijinsky, Vaslav (France)

  • Add to playlist
06:09

Le Sacre du printemps (solo de l'élue)

Nijinsky, Vaslav (France)

  • Add to playlist
02:59

Jewels

Balanchine, George (France)

  • Add to playlist
05:30

Folias & Jacaras

Yepes, Ana (France)

  • Add to playlist
04:07

Icons

Tompkins, Mark (France)

  • Add to playlist
02:50

Witness

Tompkins, Mark (France)

  • Add to playlist
03:18

Under my skin

Tompkins, Mark (France)

  • Add to playlist
05:59

STAYIN ALIVE

Tompkins, Mark (France)

  • Add to playlist
Our themas suggestions

Les Rencontres chorégraphiques internationales de Seine-Saint-Denis

Exposition virtuelle

Maison de la Danse de Lyon

Les Rencontres chorégraphiques internationales de Seine-Saint-Denis

Exposition virtuelle

Une traversée de l’histoire des Rencontres chorégraphiques internationales de Seine-Saint-Denis, depuis le Concours de Bagnolet jusqu’aujourd’hui.  

Discover
Know more

LE FESTIVAL VAISON DANSES

Exposition virtuelle

Numeridanse.tv

LE FESTIVAL VAISON DANSES

Exposition virtuelle

Depuis plus de 20 ans, Vaison Danses accueille les plus grands noms de la danse. La scène du majestueux théâtre antique va à nouveau vibrer en juillet 2019 avec des compagnies internationales prestigieuses et des chorégraphes de renom. L’occasion pour Numeridanse de faire découvrir ce festival ! 

Discover
Know more

40 ans de rock et danse

Exposition virtuelle

Maison de la Danse de Lyon

40 ans de rock et danse

Exposition virtuelle

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus, oh oh oh

Chic planète, dansons dessus...

Et mettons-nous tous nus 

> Chanson de l’Affaire Louis Trio (1987)

Discover
Know more

[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times

Parcours

Céline Roux

[1930-1960]: Neoclassicism in Europe and the United States, entirely in tune with the times

Parcours

The Ballets Russes paved the way for what would become known as: neo-classical. Back then, the term “modern ballet” was frequently used to define this renewal of aesthetics: a savvy blend of tradition and innovation, which each choreographer defined in their own way.

Discover
Know more

Indian dances

Parcours

Anne Décoret-Ahiha

Indian dances

Parcours

Discover Indian dance through choreographic creations which unveil it, evoke it, revisit it or transform it!

Discover
Know more

Body and conflicts

Parcours

Olivier Lefebvre

Body and conflicts

Parcours

A look on the bonds which appear to emerge between the dancing body and the world considered as a living organism.

Discover
Know more

LES CENTRES CHORÉGRAPHIQUES NATIONAUX

Exposition virtuelle

Maison de la Danse de Lyon

LES CENTRES CHORÉGRAPHIQUES NATIONAUX

Exposition virtuelle

Comment sont nés les centres chorégraphiques nationaux (CCN) ? Que représentent-ils aujourd’hui ? 

Discover
Know more

James Carlès

Exposition virtuelle

Numeridanse.tv

James Carlès

Exposition virtuelle

© Emmanuel Tussore

Discover
Know more

Danse et arts numériques

Exposition virtuelle

K. Danse - Jean-Marc Matos

Danse et arts numériques

Exposition virtuelle

Créations de spectacles, performances participatives et installations mêlant danse contemporaine et arts numériques interactifs. Une constante dialectique entre le corps vivant (vécu) et le corps visuel (donné à voir ou virtuel). Une exposition proposée par Jean-Marc Matos, chorégraphe de la compagnie K. Danse.

Discover
Know more

La compagnie Dyptik

Exposition virtuelle

Maison de la Danse de Lyon

La compagnie Dyptik

Exposition virtuelle

Découvrez la compagnie Dyptik, leur travail et leur lieu de création dans cette exposition virtuelle.

Discover
Know more

Les racines de la diversité en danse contemporaine

Exposition virtuelle

Centre chorégraphique James Carlès

Les racines de la diversité en danse contemporaine

Exposition virtuelle

La danse contemporaine désigne des courants artistiques succédant à la danse moderne. Mais il est difficile de cerner précisément cette expression, tant elle inclus différentes pratiques et esthétiques. Aujourd’hui, le mot « contemporain » intègre des danses actuelles, urbaines, théâtrales, de différentes origines géographiques ou «culturelles». Une exposition virtuelle signée par la Compagnie James Carlès Danse &Co.

Discover
Know more

Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance

Parcours

Céline Roux

Modern Dance and Its American Roots [1900-1930] From Free Dance to Modern Dance

Parcours

At the dawn of the 20th century, in a rapidly changing West, a new dance appeared: Modern Dance. In the United States as in Europe, modern trends emerge simultaneously and intertwine in thier development. Let's dive into the beginnings of American modern dance!  

Discover
Know more

QUDUS ONIKEKU : Se réapproprier une mémoire oubliée

Exposition virtuelle

Maison de la Danse de Lyon

QUDUS ONIKEKU : Se réapproprier une mémoire oubliée

Exposition virtuelle

Découvrez le travail du chorégraphe Qudus Onikeku à travers cette exposition, réalisée par un groupe d'étudiants de l'Université de Lyon 2 issus du Master Arts de la scène et du spectacle vivant (théâtre et danse), en collaboration avec la Biennale de la danse - édition 2021 et Numeridanse. 

Discover
Know more

CHRISTIAN & FRANÇOIS BEN AÏM ET L'ÉLAN VITAL - échappées chorégraphiques salvatrices

Exposition virtuelle

Christian et François Ben Aïm

CHRISTIAN & FRANÇOIS BEN AÏM ET L'ÉLAN VITAL - échappées chorégraphiques salvatrices

Exposition virtuelle

Avec cette exposition virtuelle et à travers la démarche du tandem  fraternel, pénétrons dans le monde des BEN AÏM et dans l’univers de leur  dernière pièce : FACÉTIES

Discover
Know more

Charles Picq, réalisateur en danse

Exposition virtuelle

Maison de la Danse de Lyon

Charles Picq, réalisateur en danse

Exposition virtuelle

Rencontre avec Charles Picq, réalisateur et vidéaste de la danse. 

Discover
Know more

A Rite of Passage

Webdoc

Julie Charrier

A Rite of Passage

Webdoc

Classical, telluric, shamanic, revolutionary? On May 29th, 1913, the first performance of Nijinski's "Rite of Spring" made such a scandal. This webdoc tells the story of this key work which inspired so many artists.
Discover
Know more

Black Dance

Webdoc

Julie Charrier

Black Dance

Webdoc

James Carlès, dancer and choreographer and specialist of Afro-American dance, evokes the origin of current-day urban dances. From Africa to the United States via Europe, he emphasizes their hybrid style and puts their social and political dimension into perspective. A myriad of videos, photos, illustrations and additional resources complement this interview.
Discover
Know more

Why do I dance ?

Webdoc

Julie Charrier

Why do I dance ?

Webdoc

Social dances, anti-establishment, protest dances, rhythms or identities, rituals or pleasures... There are a myriad of reasons for dancing and a myriad of points of view. A webdoc to discover, enhanced with extracts from performances and accounts from amateurs... all the right reasons for dancing!
Discover
Know more

Genesis of work

Parcours

Centre national de la danse

Genesis of work

Parcours

A dance show is created in multiples steps between the enunciation of an initial desire which launch the project and the first representation. This parcours presents diff

Discover
Know more

Artistic Collaborations

Parcours

Centre national de la Danse

Artistic Collaborations

Parcours

Panorama of different artistic collaborations, from « couples » of choreographers to creations involving musicians or plasticians

Discover
Know more
By accessing the website, you acknowledge and accept the use of cookies to assist you in your browsing.
You can block these cookies by modifying the security parameters of your browser or by clicking onthis link.
I accept Learn more