A Quote by Isadora Duncan

No composer has yet caught this rhythm of America - it is too mighty for the ears of most. — © Isadora Duncan
No composer has yet caught this rhythm of America - it is too mighty for the ears of most.
What [Tulio Serafin] said that impressed me was: "When one wants to find a gesture, when you want to find how to act on stage, all you have to do is listen to the music. The composer has already seen to that." If you take the trouble to really listen with your soul and with your ears - and I say soul and ears because the mind must work, but not too much also - you will find every gesture there. And it is all true, you know.
When we look at the arts and letters in America, especially if we look at poetry, and poetry set to music, this dialogue, we have this very powerful beautiful, eclectic, diary, or narration of being in America, being American, participating in America, becoming more of America and also as an American, the American creative spirit, which is quite interesting. Our composers and poets have spent more time writing and thinking and speaking out of what it means to be a composer or poet as well as to be an American, or a composer or poet In America; both relationships.
There are men too superior to be seen except by a few, as there are notes too high for the scale of most ears.
I never really caught on in America. I don't have an agent. It's too strange for me.
When my husband kisses my ears. My ears turn me on like nothing else, they must be my most erogenous zone. Just having my ears kneaded is like a full body massage.
If a composer could state in words what being a composer means, he would no longer need to be a composer.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
If the reader were so rash as to purchase any of Bela Bartok's compositions, he would find that they each and all consist of unmeaning bunches of notes, apparently representing the composer promenading the keyboard in his boots. Some can be played better with the elbows, others with the flat of the hand. None require fingers to perform or ears to listen too.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Rhythm is one of the most powerful of pleasures, and when we feel a pleasurable rhythm we hope it will continue. When it does, it grows sweeter.
I work very hard on all my poems, but most of the work consists of trying not to sound as if I had worked. I try to make them sound as natural as possible, but within a quite strict form, which to my ears has a lot to do with musical rhythm and sound.
If the run game's not working, you'll most likely succeed in the pass game, and even if there's a game where the run game and the pass game's not working, you've got to find a way to continue to win. You can't get too caught up in one play. You can't get too caught up one quarter or one drive.
Most people have ears, but few have judgment; tickle those ears, and depend upon it, you will catch their judgments, such as they are.
First acting gig was playing a victim in 'America's Most Wanted.' The night the show aired, they caught the killer!
It seems to me monstrous that anyone should believe that the jazz rhythm expresses America. Jazz rhythm expresses the primitive savage.
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