Because of its recent popularity and emphasis on gesture, Delsartism was extremely important in the early days of silent film where performers and directors needed to rely on physicality and expression to convey stories. Actors would practice and study specific poses and angles for each part of the body.[1] And they often studied under dancers like Ted Shawn.[2]
American Delsartism was also a precursor of modern dance. One of Genevieve Stebbins’ students, Hade Kallmeyer introduced Stebbins’ teachings to Germany.[3] There she opened a school for “harmonic gymnastics” in which “the emphasis [was on] the facility and quality of movement … not a rigid vocabulary of expression.”[4] This evolved into rhythmic German dancing, a part of the history of modern dance.[5]
Photograph of Isadora Duncan (1908)
Ted Shawn was a dancer and choreographer who studied with Henrietta Hovey.[6] He along with Isadora Duncan and Ruth St. Denis were all very interested in and inspired by the ideas of Delsartism and with them they were the pioneers of modern dance in America.[7] Ted Shawn published a book about François Delsarte, his system, and dance which thoroughly explains the influence that Delsarte had. Modern dance relies heavily on Delsarte’s Order of Successions, the flowing motion of the body.[8] Shawn writes that prior to the trio’s development of the
Photograph of Ted Shawn (1931)
free moving, fluid technique of modern dance, dancers of the 19th century were rigid, artificial, and stylized.[9] Delsarte’s Nine Laws of Motion were also very important to modern dance as particular movements and attitudes of the body indicated specific expressions.
Delsartism also correlated with women’s rights and suffragette movements of the time. The system was popular with women and many associated it with freedom and autonomy for their gender.[10] Many women like Genevieve Stebbins became great respected scholars for their work in the field. Delsarte wanted to apply his aesthetic theory to more than just performance but to all aspects of life.[11] Especially with the advent of modern dance, it became more acceptable for women to dress more freely and revealing. Their bodies were allowed fluidity of motion, no longer bound by corsets.
[1] Preston, Carrie J. “Posing Modernism: Delsartism in Modern Dance and Silent Film.” Theatre Journal, vol. 61, no. 2, 2009, pp. 213-233, Performing Arts Periodicals Database, http://dartmouth.idm.oclc.org/login?url=http://search.proquest.com.dartmouth.idm.oclc.org/docview/2078303?accountid=10422, 227.
[2] Supra. n. 1
[3] Ruyter, Nancy Lee Chalfa. The Cultivation of Body and Mind in Nineteenth-Century American Delsartism. Greedwood Press, 1999, 69.
[4] Supra. n. 3 at p. 71
[5] Supra. n. 3 at p. 70
[6] Supra. n. 3 at p. 31
[7] Shawn, Ted. Every Little Movement: A Book About François Delsarte. Dance Horizons, 1954, 79.
[8] Supra. n 7 at p. 34
[9] Supra. n 7 at p. 82
[10] Fahey, Joseph. “Quiet Victory: The Professional Identity American Women Forged through Delsartism.” Mime Journal, vol. 23, 2005, pp. 42-83, Performing Arts Periodicals Database, http://dartmouth.idm.oclc.org/login?url=http://search.proquest.com.dartmouth.idm.oclc.org/docview/2051902?accountid=10422, 43.
[11] Supra. n. 3 at p. 7