Danseuse de sa vie, au gré des événements extérieurs et de ses tourments personnels, elle est associée à l'élaboration des principes fondamentaux de la danse *moderne en rupture avec la danse *classique occidentale et participe de l'avènement de la modernité : son élan créateur constitue le coeur du courant artistique de la danse *libre dont les recherches de M. *Fokine, E. *Jaques-Dalcroze ou E. *Hawkins, entre autres, portent la marque. Par son esprit libre, elle reste une figure emblématique de la danse du XXe s. comme en témoigne la pérennisation de son répertoire à travers le travail de J. *Levien notamment, et les hommages chorégraphiques que lui rendront, par exemple, J. *Limón (Dances for Isadora, 1972), F. *Ashton (Five Brahms Valses in the Manner of Isadora Duncan, 1975) ou M. *Béjart (Isadora, 1976).
ESch
Bibliographie. Duncan Isadora, Ecrits sur la danse, éd. du Grenier, Paris, 1927 ; Ma Vie, Gallimard, Paris, 1932.
Jeff DUNCAN (né en 1930).
Danseur, chorégraphe et pédagogue américain.
À la suite d'études musicales, il découvre la danse *moderne et devient successivement l'élève de H. *Holm, J. *Limón, D. *Humphrey, A. *Nikolais et M. *Cunningham. Débutant comme interprète en 1951, il participe notamment à la reprise de *With My Red Fires de D. Humphrey en 1953. En 1954, il danse dans *Lyric Suite d'A. *Sokolow et devient son assistant, tout en poursuivant une carrière de soliste dans des *comédies musicales de *Broadway. Il fonde ensuite sa compagnie, pour laquelle il compose notamment Three Fictitious Games (1957) et Statement (1966), et signe de nombreux solos, dont Antique Epigrams (1957) et Terrestrial Figure (1959). En 1965, il fonde le *Dance Theater Workshop en collaboration avec Jack Moore et Art Bauman. Ce studio deviendra un important lieu d'expérimentation qui donnera naissance à l'American Theater Laboratory.
MDS
Autres chorégraphies. Frames (1958) ; Outdoors Suite (1960) ; Winesburg Portraits (1963) ; Statement (1966). Bibliographie. J. Dunning, « Dance Theater Workshop Grows Up », Dance Magazine n_ 3, 1976.
Lisa DUNCAN, [ndn MILKER L. ] (1898-1976).
Danseuse, pédagogue et chorégraphe française d'origine allemande.
Se distinguant par son style fluide et bondissant, elle est, parmi les *Isadorables, la plus partagée entre l'engagement de perpétuer la tradition isadorienne et la nécessité de développer sa danse. C'est cette dernière orientation qui va finalement primer : après une tournée aux Etats-Unis (1923-1924) avec Anna et Margot *Duncan, elle s'installe à Paris où sa collaboration avec J. *Pomies de 1930 à 1932 lui permet de se produire dans Tango (mus. G. *Auric), Danseuse de Delphes (mus. C. *Debussy), Clair de lune (mus. C. *Debussy). Attachée à la France et opposée au nazisme, elle se réfugie en province durant la guerre. L'après-guerre à Paris s'avère très difficile. Elle repart pour Dresde, sa ville natale, quelques années avant sa mort.
ESch
Margot DUNCAN, [ndn JEHLE M. ] (1900-1925).
Danseuse allemande.
De santé fragile, elle quitte la scène après une dernière tournée aux Etats-Unis en 1923-1924 avec deux autres *Isadorables, Lisa et Anna. Elle commence alors à enseigner à Paris mais meurt prématurément de la tuberculose.
Danseuse, pédagogue et chorégraphe américaine d'origine allemande.
Refusant en 1921 d'accompagner Isadora *Duncan à Moscou pour créer une nouvelle école, elle s'installe à New York. Danseuse d'une musicalité flamboyante, "Feu et Vent" ainsi que la représente le photographe Edouard Steichen, elle contribue à faire connaitre et à perpétuer la danse duncanienne à travers le répertoire et ses propres travaux. Dans les années 1930, elle fonde une nouvelle compagnie, Les Héliconiades. En 1980 elle reforme une compagnie, l'Heritage Dance Company, et rend un hommage émouvant à sa mère sprirituelle en dansant en public à 86 ans. Avec elle disparaît en 1987 la dernière des *Isadorables.
ESch
Raymond DUNCAN (1874-1966).
Pédagogue et metteur en scène américain.
Frère d'Isadora *Duncan, animé d'une passion pour la Grèce Antique comme symbole de civilisation, il partage la quête artistique de sa soeur, l'assistant dans ses recherches livresques et picturales. En 1898, il quitte les Etats-Unis pour l'Europe. A la suite d'un voyage en Grèce en 1903, il adopte un mode de vie héllénisant, fabriquant ses propres toges, sandales et se nourrissant de façon frugale. Sa mise en scène d'Electre de Sophocle en 1910 à New York s'appuie sur les mouvements du choeur. En 1914, lors du conflit des Balkans, il part aider les réfugiés grecs. En 1929, il fonde à Paris (rue de Seine) l'Akademia où sont dispensés jusqu'au début des années 1980 cours de danse, ateliers d'artisanat, conférences, concerts. Raymond élabore une gymnastique basée sur les gestes de travail. Sa danse, inspirée de l'art statuaire grec, se fonde sur six positions où se jouent les oppositions naturelles du corps. Plus posturale que fluide, angulaire, le plus souvent offerte de profil, sans accompagnement musical, elle reflète une exigence austère qui sous-tend toute sa vie.
ESch
Katherine DUNHAM (née en 1912).
Danseuse, chorégraphe et pédagogue américaine.
Les années 1930 sont pour cette native de Chicago un temps de formation intellectuelle et artistique. Étudiante en ethnologie à l'université de Chicago, elle parfait ses études en danse avec Ludmila Speranzeva et collabore avec Mark Turbyfill et R. *Page du Chicago Opera. Avec le premier, elle fonde le Ballet nègre, pour lequel elle signe sa première chorégraphie, Negro Rhapsody (1931). La seconde lui confie son premier rôle principal dans la Guiablesse (1934). Elle effectue simultanément ses premières armes de pédagogue en enseignant la danse classique et moderne à des élèves qui formeront le noyau du Negro Dance Group créé en 1934. Son travail chorégraphique retenant l'intérêt, elle bénéficie en 1935 d'une bourse d'études pour étudier la danse et la culture caraïbes. Très concernée par les fonctions sociale et psychologique de la danse, souci qui perdure tout au long de sa carrière et qui en fait l'une des danseuses les plus politiquement engagées de son époque, elle s'attache à analyser les liens formels et fonctionnels existant entre la danse et les rites des Caraïbes et leurs origines africaines. Elle y observe également les synthèses opérées entre éléments européens et africains, lesquelles deviendront par la suite l'une des caractéristiques majeures de ses chorégraphies. De retour aux États-Unis en 1936, elle écrit une thèse, publie des articles, donne des conférences, avant de se tourner définitivement vers la danse, utilisant ses connaissances d'anthropologue pour monter des spectacles qui mélangent pour la première fois danse et folklore rituel dans des compositions scéniques modernes.
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