Isadora Duncan "My Life" online

  Depending on how the searching would  come along, the page would be updated .
French edition:

English:
  Internet Archive or Project Gutenberg
Russian: The Russian translation is freely  available everywhere .
Chinese edition:(preview only, those who knows where to find the whole book in chinese, legaly online,please,share a link)

Japanese(preview only):
  
Marathi (India): Digital Library of India or Internet Archive
Spanish:Biblioteka Digital Hispanica

Michel Fokine's letter to Mr. Martin about Isadora Duncan's influence on him.

Isadora Duncan was often named by some  dance researchers and ballet dancers, who knew Michel Fokine, as the one who  greatly influenced  Fokine and his chareography.  The ballet perfomer  objected this statement in his letter to Mr. Martin and there  he explaned why it's happened. Here are the excerpts from this letter:

The whole letter you can read in  St. Petersburg State Theater Library

Memorial for Anna Duncan, Isadora's daughter (1894 -1980)

Anna Duncan, apr.1917. Photo by Apeda

At this day,26 February,1897,was born Irma ( Erich-Grimme) Duncan !

20-year-old Irma Duncan in a dance pose, 1917. Agence Rol, National Library of France.

Bibliothèque nationale de France, département Estampes et photographie, EI-13 (868)

Anna Duncan dancing on the beach ( Long Beach? ). Arnold Genthe, apr. 1917-1919. Library of Congress.

The Dance of The Future, New York, The Forest press, c. 1909. With introduction by Mary Fanton Roberts and samples of concert programs.

The Dance of the Future in Polish language. Izadora Duncan "Taniec przyszłości", WARSZAWA 1905. Polona library

Taniec przyszłości odczyt Izadory Duncan

Isadora Duncan's Concert Studio(ex-Isadora Duncan's Moscow School) perfomance for the school pupils,1935

After the closing down of the Isadora Duncan's Moscow School in 1929, it was reformed into "Isadora Duncan's Conert Studio".Their  artistic director was Maria Borisova, who replaced  Irma  after her leaving to USA.(Althought, according to the Isadora Duncan Archive, Tamara Lobanovskaya was their artistic director from 1930 to 1935. But the soviet press points at Maria.)
Their manager remained Illya Shneider, who was previously the headmaster of the Moscow school.
The footage starts with the title"Learnig the Ancient Greece Art", where it shows the school excurtion in  art museum. Later on, in this museum, the dancers of  Duncan Concert Studio shows the movement of the greek statues to the pioneers.

The famous Russian ballet dancer Michel Fokine shares his point of view about Isadora Duncan's art in his autobiography

Michel Fokine, 1936. Photo by Howard Coster.  © National Portrait Gallery, London

Michel Fokine saw Isadora Duncan's  perfomances for the first time  in  Saint-Petersburg, in 1904, during her Russian tour. Fokine was impressed by her, and,according to his colleges and Duncan researchers, was greatly influenced by  Isadora's ideas and dances, so it greatly affected on his choreography and his vision of ballet. He saw in Isadora the changes, that should be done in ballet, the thing that  he was thinking about for long time. But here what Fokine by himself thought about the barefoot dancer:
I wish to talk about Isadora Duncan in some detail. She was the greatest American gift to the art of dance. Duncan proved that all the primitive, plain, natural movements - a simple step, run, turn on both feet, small jump on one foot - are far better than all the richness of the ballet technique, if to this technique must be sacrificed grace, expressiveness, and beauty. It is true that one should not sacrifice beauty or grace to the execution of technical difficulties. The error is in the supposition that technical difficulties could not be executed with grace, as if beauty and expressiveness may be associated only with simple movements.

Isadora Duncan about her American tour of 1908 and Maud Allan, by C.C.Carlton. San Francisco Call, 8 November 1908

 

Anna Duncan portrait.Arnold Genthe,1915.

Isadora Duncan during her time in Holland,Noordwijk.

Isadora Duncan,pregnant with Deidre, in Villa Maria.Noordwijk,1906.

In 1906 Isadora was expecting her first child. To prepare herself for childbirthing and to hide from people's curiosity, she decided to rent for a summer  a house in Holland,Noordwijk. During that period she was spending her time by having a walk on the beach,writing  in her diary about teaching of her art and observing her niece Temple,who came from Grundewald school for a short time, dancing on the sea coast.The other children wasn't with her to prevent reporters or anyone else from finding out Isadora's hiding. Also, they played with Gordon's Craig dog Black, which he left to the care temporary. Watching Temple's dances, she was inspired to write an essay "A Child Dancing"  

Margo, Anna, Lisa, supposably portraiting "The Three Graces", apr.1915

Embed from Getty Images

Happy birthday, Isadora Duncan! May 27,1877.

Photo by Jacob Schloss. Apr.1898. New York Public Library

At this day, in April 16,1895,was born Maria-Thersa ( Kruger) Duncan.

photo by Arnold Genthe

Isadora Duncan and her brothers Raymond and Augustin at Les Petits Dalles in France,before their departure for Greece,1903.

Courtesy of Les Petites-Dalles

Isadora Duncan, 1920.

The recollection about Isadora Duncan of ballerina Tamara Karsavina from her autobiography "Theatre Street. The Reminiscences Of Tamara Karsavina".

Tamara Karsavina,1920. Bassano Ltd.
 © National Portrait Gallery, London.

  Tamara Karsavina was one of famous Russian ballerinas,the member of Sergei Diaghilev troupe and participant of "Ballets Russes", the teacher of dancer Margo Fonteyn. In 1918, after marrying the british diplomat, she emigrated to Europe. She tried herself in a movie actress, one of her films is " Wege zu Kraft und Schönheit - Ein Film über moderne Körperkultur". In 1930 she published her book of memoirs "Theatre Street" in London, in which she shares her impression and thoughts about Isadora Duncan :

 The great sensation caused in the artistic world by the first appearance of Isadora Duncan was still fresh when, in the spring of 1907, Fokine produced his Eunice this time for inclusion in the repertoire.

 Isadora had rapidly conquered the Petersburg theatrical world. There were, of course, always the reactionary balletomanes, to whom the idea of a barefoot dancer seemed to deny the first principles of what they held to be sacred in art. This, however, was far from being the general opinion, and a desire for novelty was in the air.

  I remember that the first time I saw her dance I fell completely under her sway. It never occurred to me that there was the slightest hostility between her art and ours. There seemed room for both, and each had much that it could learn to advantage from the other. 

Photo with signature of Isadora Duncan at Palm Beach, Florida, 1917. Date of autograph unknown.

Image Courtesy of Skinner, Inc.

The inscription says:  To Percy McKay, " Poor me at Palm Beach".
Percy McKay was American poet, playwright and Isadora's friend. One of his known works is "The Scarecrow: Or, The Glass of Truth; a Tragedy of the Ludicrous".
Photo like this, but with another inscription you can watch here