Delsarte And The Development Of The New Dance

The new dance is used to describe the developing art form, it was articulated in the early 20th century. “The new dance emerged as a response to the ballet that populated the variety shows and music halls, which had a rigid formula of steps and poses” (Kassing). The new dance was a product of several strands; these strands and others, woven together in a historical, political, and societal framework, leading to the development of a new dance form that interlaced together through dancers’ studies and background. For instance, one strand consisted of the concepts, techniques, costumes, and stage settings from around the world. Whereas another strand came from actress and teacher Genevieve Stebbens, who taught the Delsarte method, Delsarte’s method used poses and gestures to display emotions. This influenced major

He demonstrated this in his choreographies when he explored historical, cultural, and American themes as a male dancer. Shawn was determined to leave a mark for the new dance that he wrote nine books to develop a foundation for the new dance forms. Other dancer and choreographers of the 20th century new dance relied on visuals, such as, Loie Fuller, an American self-taught dancer. In effect, she depended on interesting visuals, such as, lighting and costumes.

In contrast to Isadora Duncan, her rival, Fuller was a realist… Throughout her career Fuller used fabric and light as design elements, experimenting and expanding her repertory of special effects. Whenever she came up with a new idea or invention, she sought a way to use it. Her theories of dance included using natural, non-balletic gestures and movements. Her dance was a direct response to sensation and emotions. She used few specific steps, instead interpreting the music spontaneously.