Maenad是希臘神話酒神下的舞者
https://en.wikipedia.org/wiki/Maenad
酒神的狂女邁那得斯（古希臘語：Μαινάδες）希臘神話中酒神狄俄倪索斯的女追隨者。在羅馬神話中，她被稱為巴克坎忒斯或梯伊阿得斯。
在荷馬的史詩《伊利亞特》中已經有這個詞出現，但其性質是否與後來的傳統一致還不清楚。歐里庇得斯的悲劇《酒神的狂女》則提供了關於邁那得斯的性質的一些詳細資料。
Remembering the Matriarch Of Modern Dance
每個時期都會以自己獨特的自由形象重塑伊莎多拉鄧肯。自從她誕生（5月27日）一百年以來，她比以往任何時候都更生動地展現了人類突破束縛的能力。她不僅是一位偉大的舞者和一股社會力量，更是一位用雙手抓住生活、深刻激發大眾想像的人。事實上，伊莎多拉的傳奇——她奢華的一生——幾乎掩蓋了她作為藝術家的本質。
她的生活彷彿是一場盛大的演出——極端而放縱，然而——甚至她的自傳也證實了這一點——她強烈地意識到自己正在為觀眾表演。她是一位直言不諱的反叛者，兼具天才的本能和狂野的自我毀滅傾向，她似乎在贏得大型藝術和個人活動的勝利的同時，也招致了災難——在這些活動中，她都是中心人物：流亡的伊莎多拉離開美國，前往欣賞她極具原創性的歐洲；伊莎多拉墜入愛河，擁抱狂喜與絕望；伊莎貝拉試圖重塑古希臘精神，在荒蕪的土地上建造神廟；伊莎貝拉獨舞貝多芬第七交響曲，在圓形劇場中座無虛席；伊莎貝拉勸誡著公眾，而公眾對她的讚美與嘲諷並存；伊莎貝拉在一場離奇的事故中喪生，她被拖死的圍巾被纏住而窒息而窒息。諷刺而詭異的是，真正的悲劇發生了——她的兩個年幼的孩子溺水身亡，而她從未為此做任何安排、邀請，甚至從未引誘過他們。她似乎是一位…
另一個時代尤其被她開放的性傾向所吸引的女性。伊莎多拉的愛情生活在那個時代可謂絢麗多彩。在後維多利亞時代，她選擇舞伴，與他們交往時，既充滿激情，又同樣悲傷（當事情發展到不順時）。在那個仍能令人震驚的後維多利亞社會（人們巧妙地將這種對傳統的蔑視稱為「自由戀愛」），她也同樣如此。僅憑這個主題，直到1969年，這部電影都獲得了熱烈的迴響。今天，我們已不再如此輕易地感到驚訝。伊莎多拉的行為似乎已不再獨一無二，儘管人們仍然欽佩她面對生活各個層面時所展現出的充沛精力和無比的慷慨。
然而，如今我們更感興趣的是她的舞蹈。伊莎多拉是現代舞的始祖。她被認為是這門本質上是美國藝術的創始人，並非因為她的追隨者——露絲·聖丹尼斯、多麗絲·漢弗萊、瑪莎·格雷厄姆——模仿或發展了她獨特的舞蹈風格，而是因為她反抗古典芭蕾中普遍存在的刻板和矯揉造作，構思出一種能夠有力地展現個人魅力的舞蹈。 「沒有兩個人的舞蹈應該完全相同，」她宣稱。儘管她可能受到了世紀之交德爾薩特式表現性肢體語言研究的影響，據說接受過一些粗略的芭蕾舞指導，但她本質上發展出了自己的舞蹈技巧和理論。
鄧肯呼籲回歸自然、熱情的樸素，她認為這正是舞蹈的精髓。她的創作方法與任何一位創意先驅者都一樣：觀察、思考、實驗，並固執地追隨自己的直覺。她認為當時的戲劇舞蹈鮮有值得推崇之處，因此她轉向了更為純粹的創作來源。她研究了在她看來瀰漫於自然界的波浪般的運動：從海洋到看不見的聲光路徑；從奔跑跳躍的動物到飛翔的鳥兒。她研究希臘藝術，並非為了模仿舞蹈人物的姿勢，而是為了理解精煉至精髓的姿態。在浪漫主義的音樂中——尤其是瓦格納和貝多芬——她找到了一種能夠啟動她所謂的「靈魂動力」的衝動。毫無意義的動作對她來說是詛咒；事實上，她正在「尋求那種透過身體運動來表達人類精神的神聖舞蹈」。
鄧肯創造了一種舞蹈，這種舞蹈在身體和情感上都以身體中心為中心，而不是僅僅依靠手臂和腿部的外圍裝飾性動作——她輕蔑地稱之為“技巧”，認為這些動作可以教給腳。乍一看，她的舞蹈詞彙似乎相當狹窄和簡單——僅僅基於走、跳、跑，以及上身的配合動作——但其可塑性和節奏感卻異常微妙（如今技藝精湛的專業舞蹈家常常被其所折服），鄧肯也憑藉此創造出一個充滿情感的世界。她留下的曲目涵蓋了從感性抒情的《布拉姆斯圓舞曲》到刻畫悲痛的《母親》，再到充滿激情的所謂革命性《練習曲》——在這段舞蹈中，身體似乎時而屈服於暗示著壓迫的重力和倦怠，時而又頑強地掙脫束縛。將《聖靈之舞》（獻給格魯克）的溫柔純粹與《酒神節》中過熟的酒意瘋狂相映成趣。
伊莎多拉的表演力量在舞蹈舞台上似乎無人能及。從目擊者的描述中，我們知道她經常能夠將觀眾帶入極致的情緒狀態。正如一位觀察者所說，她「打開了心靈的窗戶」。這些忠實的觀眾並非只是容易被感傷浪潮所感染的那部分公眾，而是敏銳而成熟的觀眾，其中包括一些當時傑出的藝術家。其中，視覺藝術家留下的繪畫遺產，是伊莎多拉表演的最真實記錄，因為她從未允許自己被拍攝。正是在沃科維茨、克拉拉、布德爾和羅丹的繪畫中，今天的觀眾才能感受到鄧肯舞蹈流暢起伏的線條，令人愉悅的身影重量，甚至隱約可見其戲劇效果。
伊莎多拉鄧肯的表演魅力如此強大，以至於常常讓人誤以為她的舞蹈是即興創作的。恰恰相反，她留下了一系列可以傳承的編舞作品（包括獨舞和群舞）。在現代舞回顧歷史、鞏固成就的當下，這些作品正備受矚目。鄧肯清晰、簡潔、結構清晰的舞蹈回歸了形體、重量和動態的基本要素，而這些要素在追求精湛技藝的過程中已被當代舞蹈所遺忘。
隨著5月27日伊莎多拉鄧肯百年誕辰紀念活動的啟動，鄧肯的編舞作品有望更加引人注目。 （關於這位舞者的出生年份——1877年還是1878年——有些混淆，最終鄧肯人達成友好協議，決定舉行一年的慶祝活動。）這也是她逝世50週年。儘管鄧肯努力創建和維護的兒童學校已不復存在，但人們仍在跳她的舞蹈，反應迅速擴大。
Every period re‐creates Isadora Duncan in its own image of freedom. A hundred years from her birth (on May 27) she is, more than ever, a Vivid example of the human capacity for breaking through restraints. She was not only a great dancer, and a social force, but a person who, seizing life with both hands, profoundly stirred the public's imagination. In fact, the legend of Isadora‐her extravagant life‐has almost obscured her to us as an artist.
She lived as if her life were a grand performance‐at extremes, with abandon, and yet‐even her autobiography confirms it‐with a strong consciousness of playing to an audience. An outspoken rebel, with the instincts of genius and a wild streak of self‐destructiveness, she seemed to court disaster as well as triumph ‐large‐scale artistic and personal events in which she appeared as the central character: Isadora the expatriate, leaving America for a Europe that would appreciate her highly original art; Isadora in love, embracing ecstasy and despair; Isadora attempting to re‐create the ancient Greek spirit, building a temple on barren land; Isadora dancing Beethoven's Seventh Symphony, the solo figure filling an amphitheater; Isadora exhorting a public that extolled and ridiculed her in equal measure; Isadora dead in a freakish accident, strangled by her trailing scarf's catching in the wheels of her car. What was ironic, and eerie, was the real tragedy that occurred‐the drowning of her two young childrenwithout her staging, inviting, or even tempting it. She seemed to be a woman whom
Another age was particularly fascinated by her open sexuality. Isadora's love life was, for its time, flamboyant. She chose her partners and consorted with them with robust pleasure and equally lusty sorrow (when the affairs went askew) in a post‐Victorian society that could still be shocked (and which charmingly labeled such defiance of its conventions “free love”). That subject alone made an eagerly received movie as late at 1969. Today we are not so easily astonished. Isadora's actions no longer seem unique, although one may still admire the exorbitant energy and the glorious generosity with which she met this, and every, aspect of living.
Nowadays, though, we are more interested in her dancing. Isadora was the matriarch of modern dance. She is considered the founder of this essentially American art, not because the giants who followed her—Ruth St. Denis, Doris Humphrey, Martha Graham—imitated or developed her particular movement style, but because she rebelled against the rigidities and artificialities prevalent in classical ballet and conceived of a dance that would be a powerful form of individual human expression. “The dances of no two persons should be alike,” she declared. Although she may have been influenced by the Delsartean studies of expressive body language current at the turn of the century and is said to have had some sketchy ballet instruction, essentially she evolved he own dance technique and her own theories.
Duncan called for a return to a natural, passionate simplicity that she believed was the essence of dance. Her working methods were the basic ones of any creative pioneer: she observed, she thought, she experimented, and she stubbornly followed her instincts. Seeing little worth respecting in the theatrical dance of her time, she went to less corrupted sources. She studied the wave‐like motion that seemed to her to pervade nature: from the sea to the invisible paths of sound and light; from running, leaping animals to the flight of birds. She studied Greek art, not to copy the poses of its dancing figures but to understand gesture refined to its essence. In the music of the Romantics—Wagner and Beethoven, especially—she found an impulsive force that would start what she called “the motor in the soul.” Motion without meaning was anathema to her; she was, indeed, “seeking that dance which would be the divine expression of the human spirit through the medium of the body's movement.”
Duncan created a dance that was motivated, both physically and emotionally, from the center of the body, as opposed to a peripheral, merely decorative operation of arms and legs—“tricks,” as she scornfully called them, that could be taught to the feet. At first glance, her vocabulary looks fairly narrow and simple—based as it is on walks, skips, runs, the upper body moving in complement—but its plasticity and rhythms are remarkably subtle (today's virtuoso professionals are regularly defeated by it), and, with it, Duncan was able to create a world of emotion. The repertory she left ranges from the sensual lyricism of the “Brahms Waltzes,” to a stark monument to grief, “Mother,” to the brilliant violence of the so‐called Revolutionary “Etude,” in which the body seems alternately to give in to the gravity and lassitude that suggest oppression and defiantly rip itself from its fetters; it. poses the gentle purity of the “Dance of the Blessed Spirits” (to Gluck) against the overripe wine‐madness of the “Bacchanale.”
Isadora's power as a performer, it would seem, has rarely been matched on the dance stage. From eye‐witness accounts, we know she was regularly able to move her audience to extreme states of emotion. As one observer put it, she “opened windows for the soul.” These devotees were not just that part of the public easily carried on a wave of sentimentality, but perceptive, sophisticated viewers, among them some of the outstanding artists of the period. Of these, the visual artists left a legacy of drawings that are the truest record of Isadora in performance, since she never allowed herself to be filmed. It is in the drawings of Walkowitz, Clara, Bourdelle, Rodin that today's public gets its sense of the fluent, undulating line of Duncan's dancing, the gratifying weight of the figure, and even some suggestion of its theatrical impact.
Isadora's performing charisma was so strong it led, often, to the mistaken belief that her dances were improvised. On the contrary, she left a body of choreography (both solo and group dnces) that can be transmitted. This work is enjoying a surge of interest in the present period when modern dance is looking back over its history and consolidating its achievements. Duncan's clear, simple, lucidly constructed dances go back to fundamentals of shape, weight, and dynamics that contemporary dance has lost touch with in its pursuit of virtuosity.
Duncan's choreography promises to become even more visible as May 27 initiates a year‐long observation of the Isadora Duncan centenary. (Some confusion over the year of the dancer's birth —1877 or 1878—resulted in an amicable agreement, among Duncanites, to a year's celebration.) It is also the 50th annivesary of her death. Although the school for children Duncan struggled to establish and maintain no longer exists, people are presently dancing her dances to rapidly widening response.
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//翻閱《ISADONA SPEAKS》一書，內有現代舞蹈之母鄧肯1903年寫給柏林Morgen Post的一篇評論，藉此評論，她委婉地發洩社會對她舞蹈負面評價的不滿，她舉柏林美術館內希臘舞蹈女神？Maenad的雕像為例，藉以說明自身舞蹈所承襲的精神，她說大家與其去質問：「鄧肯能跳舞嗎？」，不如去問：「Maenad能跳舞嗎？」。
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