Ruth St Denis
| Ruth St. Denis | |
|---|---|
 |
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| Born |
Ruth Denis January 20, 1879 Newark, New Jersey, U.S. |
| Died | July 21, 1968 (aged 89) Los Angeles, California |
| Nationality | American |
| Known for | Modern dance |
| Spouse(s) | Ted Shawn |
Ruth St. Denis (January 20, 1879 – July 21, 1968) was an American modern dance pioneer, introducing eastern ideas into the art. She was the co-founder of the American Denishawn School of Dance and the teacher of several notable performers.
Ruth Denis was raised on a small farm in New Jersey, daughter of Ruth Emma Hull Denis (a physician by training), and Thomas Laban Denis, an inventor, where she studied both Christian Science and theosophy. As a child, she learned exercises based on François Delsarte's Society Gymnastics and Voice Culture. This was the beginning of St. Denis's dance training, and was instrumental in developing her technique later in life. In 1894, after years of practicing Delsarte poses, she debuted as a skirt dancer for Worth's Family Theatre and Museum. From this modest start, she progressed to touring with an acclaimed producer and director, David Belasco, under whom her stage name, "St. Denis", was created. While touring in Belasco's production of Madame DuBarry in 1904 her life was changed. She was at a drugstore with another member of Belasco's company in Buffalo, New York, when she saw a poster advertising Egyptian Deities cigarettes. The poster portrayed the Egyptian goddess Isis enthroned in a temple; this image captivated St. Denis on the spot and inspired her to create dances that expressed the mysticism that the goddess's image conveyed. From then on, St. Denis was immersed in Oriental philosophies.
In 1905, St. Denis left Belasco's company to begin her career as a solo artist. The first piece that resulted from her interest in the Orient was Radha performed in 1906. Drawing from Hindu mythology, Radha is the story of Krishna and his love for a mortal maid.Radha was originally performed to music from Léo Delibes' opera Lakmé. This piece was a celebration of the five senses and appealed to a contemporary fascination with the Orient. Although her choreography was not culturally accurate or authentic, it was expressive of the themes that St. Denis perceived in Oriental culture and highly entertaining to contemporary audiences. St. Denis believed dance to be a spiritual expression, and her choreography reflected this idea.
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