{"value"=>"<div class=\"head\">Biographical History: Gordon Craig</div> <ul class=\"chronlist\"> <div class=\"head\">Gordon Craig</div> Date Event <li class=\"chronitem\"> <span class=\"date\">1872 Jan. 16</span> <span class=\"event\">Born at [UNK], [UNK], son of Ellen Terry and Edward William Godwin. Christened “Edward Henry Gordon Craig” at age sixteen.</span></li> <li class=\"chronitem\"> <span class=\"date\">1889-1897</span> <span class=\"event\">Appeared as actor with several companies, including Henry Irving's company at the Lyceum Theatre.</span></li> <li class=\"chronitem\"> <span class=\"date\">1893</span> <span class=\"event\">Married May Gibson.</span></li> <li class=\"chronitem\"> <span class=\"date\">1896</span> <span class=\"event\">Formed his own company, giving <span class=\"emph\">Hamlet</span>and <span class=\"emph\">Romeo and Juliet.</span></span></li> <li class=\"chronitem\"> <span class=\"date\">1898-1901</span> <span class=\"event\">Published <span class=\"emph\">The Page,</span>a magazine devoted to the arts. Became increasingly involved in art work and scene design.</span></li> <li class=\"chronitem\"> <span class=\"date\">1900</span> <span class=\"event\">Met Elena Meo.</span></li> <li class=\"chronitem\"> <span class=\"date\">1900-1902</span> <span class=\"event\">Designed and produced several highly innovative productions with Martin Shaw and his Purcell Operatic Society:</span></li> <li class=\"chronitem\"> <span class=\"date\">1900</span> <span class=\"event\"><span class=\"emph\">Dido and Aeneas</span>(Purcell)</span></li> <li class=\"chronitem\"> <span class=\"date\">1901</span> <span class=\"event\">The Masque of Love (music from Purcell's opera Dioclesian)</span></li> <li class=\"chronitem\"> <span class=\"date\">1902</span> <div class=\"eventgrp\"> <span class=\"event\"><span class=\"emph\">Acis and Galatea</span>(Handel and John Gay)</span> <span class=\"event\"><span class=\"emph\">Bethlehem</span>(Housman)</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1901</span> <span class=\"event\">Arranged first of many exhibitions - this of bookplates.</span></li> <li class=\"chronitem\"> <span class=\"date\">1903</span> <span class=\"event\">Designed and directed <span class=\"emph\">The Vikings</span>(Ibsen) for Ellen Terry. Also designed <span class=\"emph\">Much Ado About Nothing</span>for Ellen Terry and <span class=\"emph\">For Sword or Song</span>for Fred Terry. Wrote and designed <span class=\"emph\">The Masque of Hunger, The Masque of London,</span>and <span class=\"emph\">The Masque of Lunatics.</span>Met Count Kessler. Visited Berlin in July.</span></li> <li class=\"chronitem\"> <span class=\"date\">1904</span> <span class=\"event\">Left for Berlin in August to prepare designs for <span class=\"emph\">Venice Preserved</span>(Otway-Hofmannsthal) for Dr. [UNK] of the Lessing Theater. Met Isadora Duncan in December.</span></li> <li class=\"chronitem\"> <span class=\"date\">1905</span> <span class=\"event\">Prepared a dozen exhibitions in Germany and Vienna. Formed Direktion Vereinigter Kunst to further his own projects and manage Isadora Duncan's appearances. Designed <span class=\"emph\">Klektra</span>for Eleonora Duse (not produced).</span></li> <li class=\"chronitem\"> <span class=\"date\">1906</span> <span class=\"event\">Designed <span class=\"emph\">Rosmersholm</span>in Florence for Eleonora Duse.</span></li> <li class=\"chronitem\"> <span class=\"date\">1907-1914</span> <span class=\"event\">Moved to Florence. Created Screens, Über-Marionette, and the Black Figures in 1907. Began publishing <span class=\"emph\">The Mask</span>in 1908, continuing to work on it with some interruptions until 1929. Made sketches in 1908 for a ballet project, <span class=\"emph\">Psyche,</span>and agreed to produce <span class=\"emph\">Hamlet</span>for the Moscow Art Theatre. In 1911, demonstrated his movable screens daily on a large model stage in London. W.B. Yeats used Craig's screens in one of his plays in Dublin. Craig opened a school in Florence in 1913. Built large model for Bach's St. Matthew Passion, which was broken up when the school closed at the outbreak of war.</span></li> <li class=\"chronitem\"> <span class=\"date\">1918</span> <span class=\"event\">Published <span class=\"emph\">The Marionette,</span>a magazine.</span></li> <li class=\"chronitem\"> <span class=\"date\">1921</span> <span class=\"event\">Issue of <span class=\"emph\">The Chapbook, a Monthly Miscellany,</span>devoted to Craig's article “Puppets and Poets.”</span></li> <li class=\"chronitem\"> <span class=\"date\">1926</span> <span class=\"event\">Designed <span class=\"emph\">The Crown Pretenders</span>(Ibsen) for Johannes and Adam Poulsen at the [UNK] Theatre in Copenhagen. Received the Cross of the Knight of Dannebrog for his services to the Danish theater.</span></li> <li class=\"chronitem\"> <span class=\"date\">1928</span> <span class=\"event\">Prepared set and costume designs for a production of Macbeth in New York. The Cranach Press in Weimar published <span class=\"emph\">Hamlet,</span>translated into German by Cerhart Hauptmann and illustrated by Craig.</span></li> <li class=\"chronitem\"> <span class=\"date\">1934</span> <span class=\"event\">“Settings for an Ideal Theatre” displayed at an International Exhibition of Theatre Art at the Museum of Modern Art in New York.</span></li> <li class=\"chronitem\"> <span class=\"date\">1956</span> <span class=\"event\">Made Companion of Honour by Queen Elizabeth of England.</span></li> <li class=\"chronitem\"> <span class=\"date\">1966 July 29</span> <span class=\"event\">Died in Vence.</span></li></ul>"}
{"value"=>"<div class=\"head\">Biographical History: Isadora Duncan</div> <ul class=\"chronlist\"> Date Event <li class=\"chronitem\"> <span class=\"date\">1878? May 27</span> <span class=\"event\">Born in San Francisco</span></li> <li class=\"chronitem\"> <span class=\"date\">1896</span> <span class=\"event\">To Chicago. Met Augustin Daly and was engaged to dance in <span class=\"emph\">A Midsummer Night's Dream</span>in New York. Danced under Daly for two years in various shows.</span></li> <li class=\"chronitem\"> <span class=\"date\">1898-99</span> <span class=\"event\">Gave concerts in Carnegie Hall Studio with Ethelbert Nevin, and danced in the drawing-rooms of New York society. Gave three different concerts in Newport, including <span class=\"emph\">The Rubaiyat of Omar Khayyam,</span>September 1898. In April, 1899, danced <span class=\"emph\">The Happier Age of Gold,</span>Idylls from Theocritus and [UNK] at the Lyceum Theatre in New York.</span></li> <li class=\"chronitem\"> <span class=\"date\">1899-1900</span> <span class=\"event\">To London. Danced in private homes and before Queen Victoria, and was admired by artists and intellectuals. <span class=\"emph\">Dance Idylls</span>program.</span></li> <li class=\"chronitem\"> <span class=\"date\">1900-1901</span> <span class=\"event\">To Paris. Gave <span class=\"emph\">Dance Idylls</span>program in private salons and studios, again attracting artists, intellectuals, and the social élite.</span></li> <li class=\"chronitem\"> <span class=\"date\">1902</span> <span class=\"event\">Travelled with the Loie Fuller troupe. Met Alexander Grose, the impresario, after dancing for artists at the Kunstler Haus in Vienna. Gross arranged her contract to dance 30 evenings in Budapest.</span></li> <li class=\"chronitem\"> <span class=\"date\">1903</span> <span class=\"event\">Gave <span class=\"emph\">Dance Idylls</span>program at the Théatre Sarah Bernhardt in Paris, June-July. Debut at Kroll Opera House, Berlin. To Greece for winter.</span></li> <li class=\"chronitem\"> <span class=\"date\">1904</span> <span class=\"event\">Presented <span class=\"emph\">The Suppliants</span>(Aeschylus) with a Greek boy's chorus in Vienna and Germany. Spent May-August in Bayreuth where she danced in <span class=\"emph\">Tannhauser</span>at the invitation of [UNK] Cosima Wagner. Opened school in Grunewald with her sister, Elizabeth, and met Gordon Craig in December. Christmas in St. Petersburg.</span></li> <li class=\"chronitem\"> <span class=\"date\">1905</span> <span class=\"event\">Visited Russia again in February. Gave many concerts in Germany, Belgium, and Holland. Danced Gluck's <span class=\"emph\">[UNK].</span></span></li> <li class=\"chronitem\"> <span class=\"date\">1906</span> <span class=\"event\">Toured Germany, Holland, Belgium, and Sweden with Craig and Martin Shaw. Spent summer at Villa [UNK] near Noordwijk, on the Dutch coast. Daughter, Deirdre, born in September. Translated conversations between Craig and Eleonora Duse in Florence, late November, where [UNK] was designing <span class=\"emph\">Rosmersholm.</span>Performances in Warsaw, December-January.</span></li> <li class=\"chronitem\"> <span class=\"date\">1907</span> <span class=\"event\">Ill with neuralgia January-March. Toured Germany, Holland, and Switzerland. To Russia in December. Friendship with Constantin Stanislavsky.</span></li> <li class=\"chronitem\"> <span class=\"date\">1908</span> <span class=\"event\">Toured Russia in January and again in the spring. Gave concerts in London and New York under Charles Frohman's management. Late in year appeared in U.S. with Walter Damrosch conducting.</span></li> <li class=\"chronitem\"> <span class=\"date\">1909</span> <span class=\"event\">Concert series in Paris under the direction of LugnéPoe. [UNK] Paris Singer. Concerts in U.S. with Damrosch in November.</span></li> <li class=\"chronitem\"> <span class=\"date\">1910</span> <span class=\"event\">Son, Patrick, born May 1.</span></li> <li class=\"chronitem\"> <span class=\"date\">1911</span> <span class=\"event\">Appeared again in U.S. with Damrosch. Danced Gluck's <span class=\"emph\">Orpheus.</span></span></li> <li class=\"chronitem\"> <span class=\"date\">1913</span> <span class=\"event\">Concerts in Paris with Mounet-Sully, the Colonne orchestra and chorus, and Gabriel Pierné. April 19, children drowned in Seine. Joined brother Raymond to help refugees in Epirus, May-June. Lived near Eleonora Duse in Viarregio in the fall.</span></li> <li class=\"chronitem\"> <span class=\"date\">1914</span> <span class=\"event\">Opened school at Bellevue, near Paris.</span></li> <li class=\"chronitem\"> <span class=\"date\">1915</span> <span class=\"event\">Improvised La Marseillaise at the Metropolitain Opera House in New York. Gave unsuccessful performances at the Century Theatre.</span></li> <li class=\"chronitem\"> <span class=\"date\">1916</span> <span class=\"event\">South American tour. Performances in Paris and New York.</span></li> <li class=\"chronitem\"> <span class=\"date\">1918</span> <span class=\"event\">Met Walter Morse Pummel. Tour of France.</span></li> <li class=\"chronitem\"> <span class=\"date\">1919</span> <span class=\"event\">[UNK] Festival in Paris. Tour of Switzerland.</span></li> <li class=\"chronitem\"> <span class=\"date\">1921</span> <span class=\"event\">To Moscow in July to open school at the invitation of the Russian government.</span></li> <li class=\"chronitem\"> <span class=\"date\">1922</span> <span class=\"event\">Married Serge Essenin on May 3. Began U.S. tour with sell-out concerts at Carnegie Hall in October. Much of tour cancelled because of her “Bolshevik tendencies.”</span></li> <li class=\"chronitem\"> <span class=\"date\">1923-24</span> <span class=\"event\">Performances throughout Russia. Last Russian performance given before the party leaders in September, 1924.</span></li> <li class=\"chronitem\"> <span class=\"date\">1927</span> <span class=\"event\">Gave last concert, July 8, at the Théatre Mogador in Paris. Killed in accident in Nice, September 14.</span></li></ul>"}
{"value"=>"<p>A summary of events reflected in the Craig-Duncan manuscripts follows. References are to folders in the collection.</p> <ul class=\"chronlist\"> Date Event <li class=\"chronitem\"> <span class=\"date\">1904</span> <div class=\"eventgrp\"> <span class=\"event\">The Craig-Duncan correspondence begins three or four days after the first meeting of Isadora Duncan and Gordon Craig on the evening of December 14 or 15 at the Duncan apartment at 11 Hardenburg Strasse in Berlin. The first meeting or two are referred to in notes written by both Isadora and Craig during a train journey in January (#23). On the evening of December 15, Isadora and Craig left a party in the Duncan apartment over the protests of Isadora's brother, and drove to Potsdam and back, returning to Berlin at dawn. Isadora spent the 16th at the lodging of Elise de Brouckère (#291 and 346), who had introduced Craig to her. <div class=\"note\"> <p>Edward Craig, <span class=\"emph\">Gordon Craig, The Story of His Life</span>(New York, Alfred A. Knopf, 1968) pp 190-193. In writing this book, which deals with the Craig-Duncan relationship in considerable detail, Edward Craig made use of many of the items in the Craig-Duncan Collection.</p></div> Later, Isadora joined Craig in his studio and apartment at #11 and # 6 [UNK] for several days. She returned to her own flat on the 18th for a reception (#1) and appears to have given at least one performance during this period when she was staying with Craig (#2 and 3). She also helped her sister, Elizabeth, who was organizing the new school in Grunewald (#3).</span> <span class=\"event\">On December 23, Isadora left Berlin to perform in St. Petersburg. As she left she wrote Craig a letter with the phrase “until I return to the Heart in which I was born”, which affected him deeply (#6 and 289). She planned to be back in Berlin on December 31 (#16, 18, 19, and 21).</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1905</span> <div class=\"eventgrp\"> <span class=\"event\">A son (Edward Craig) was born to Craig in England on January 3 by Elena Meo, who figures in later letters as “Nelly” or “N”, and who was later known as Mrs. Gordon Craig although they may not have been legally married. Isadora may have known about Craig's relationship with Elena Meo as early as 1905. Her feelings about Elena varied between jealousy (#35?, 36?, 258), of which she was ashamed, and great generosity (45, 47, 86, 158, 162, 247 and 263).</span> <span class=\"event\">On January 15 Isadora and Craig travelled by train to or from Dresden, writing down all their thoughts along the way. They apparently thought that Isadora was pregnant (#23). They were in Hamburg from January 24-31, where Isadora gave auditions for pupils for her new school (#25 and 309). In February they apparently travelled together to Russia (#41, 216, 310, and 357). Toward the end of March, Isadora gave a series of highly successful performances in Brussels, and then was joined by Craig for a short holiday in Villiers-la-Ville (#38, 39, 41, 338, 347, and 348). Late in April Craig wrote his book, <span class=\"emph\">The Art of the Theatre,</span>in the space of two weeks (#338).</span> <span class=\"event\">Isadora's business affairs began to be handled by Craig and Maurice Magnus through Direktion Vereinigter Kunst early in 1905. During the summer a theater agent in Amsterdam, “Stumpff”, began arranging Isadora's bookings in Holland, dealing with her, Craig, and Magnus. His name recurs frequently in the correspondence through 1907. The income from Isadora's appearances helped support her school in Grunewald, the Duncan family, herself, and Craig. Both Craig and Isadora were absorbed in their creative work. One recurring theme in Isadora's letters of this period is the difficulty of reconciling love and work (#44, 47, and 57. See also #15, 132, 148, and 216).</span> <span class=\"event\">1905 was the year of closest association between Isadora Duncan and Gordon Craig. They travelled together and saw each other almost every day. For this reason, they wrote each other fewer letters than in 1906 or 1907.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1906</span> <div class=\"eventgrp\"> <span class=\"event\">Isadora became pregnant sometime during December, 1905. Early in the year, Craig wrote to his friend, Martin Shaw, asking him to come to Berlin and possibly conduct for Isadora. [UNK] came and was soon engaged. Craig, Shaw, and Isadora travelled together to Nuremburg, Augsburg, Minich, Amsterdam, Harlem, the Hague, Copenhagen, Stockholm, and Gothenburg on a performing tour which Isadora had planned before becoming pregnant. <div class=\"note\"> <p>Martin Fallas Shaw, <span class=\"emph\">Up to Now</span>(London, Oxford University Press, 1929) pp 65-80; and Craig, <span class=\"emph\">Gordon Craig,</span>pp 213-214.</p></div></span> <span class=\"event\">The doctor told Isadora that she could dance until the end of May, and after having the baby in late summer, could start dancing again around the first of December (#55). This is almost exactly what she did. After the tour ended, Isadora wrote Craig several letters from Gautzch (?) where she was staying with Dr. and Frau Zehme studying yoga, taking walks, and promoting a project between Dr. Zehme and Craig (#63-69). These letters probably date from late May. Several of them mention Kathleen (#59-62 and 65). This was her friend, Kathleen Bruce, whom Isadora had met through Rodin. She was a sculptress and made a sculpture of Gordon Craig contemplating one of his marionettes when both of them were visiting Isadora at Noordwijk during the summer.</span> <span class=\"event\">The first week in June, Isadora rented a house on the Dutch coast at Noordwijk, an hour's trip from Amsterdam (#71 and 350). It was called Villa Maria, and she lived there through October. Craig spent his time mostly in Amsterdam and Rotterdam, visiting her occasionally. He was in England between July 18-21, seeing Elena Meo and their two children. <div class=\"note\"> <p>Craig, <span class=\"emph\">Gordon Craig,</span>p 214.</p></div> Two unhappy letters from Isadora correspond with this period in July (#85 and 86).</span> <span class=\"event\">In September (September 14?) Isadora gave birth to a daughter, Deirdre. From this point on the baby, also called “Snowdrop,” is mentioned in almost all of Isadora's letters (#93 et seq.). Isadora remained in Noordwijk recuperating until the end of October (#103), when she returned to Berlin. In Berlin, she and Count Harry Kessler, Craig's friend and patron, brought Craig and Eleonora Duse together. Craig was invited to design a production of <span class=\"emph\">Rosmersholm</span>for Duse in Florence. (He had, at Kessler's instigation, already designed a production of <span class=\"emph\">Elektra</span>in the spring of 1905 to star Duse, but it came to nothing.) Craig, Isadora, the baby, and Marie Kist, the baby's nurse, travelled to Florence in November. Isadora translated the conversations between Craig and Duse, who did not speak the same language. The play was performed with Craig's sets on December 5 (#105-107 and 126).</span> <span class=\"event\">Isadora was the first to leave Florence. She travelled to Warsaw sometime between December 1-17 and gave a series of performances in Poland extending into the new year. A letter dated December 1 in Warsaw was either dated by the Russian (Julian) calendar which was 13 days behind the Gregorian calendar used in Europe, or was dated incorrectly (#108). Isadora's letters reflect some of the political unrest prevailing in central Poland, which was, at that time, part of Russia. Some of her engagements were cancelled or delayed due to fighting in the streets (#120, 121). She was also plagued with illness and concerned about money as she struggled to resume work.</span> <span class=\"event\">Isadora's pregnancy and the onset of motherhood not only interrupted her dancing but intensified her conflict with traditional attitudes towards women. Many of her letters from 1906 and 1907 reflect her struggle to define woman and [UNK] and to relate her own feelings to her definitions (#56, 57, 66, 82, 133, 145, 255, 256, 259. See also #29 and 37).</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1907</span> <div class=\"eventgrp\"> <span class=\"event\">Isadora was scheduled to tour Holland in January, but she became too ill to continue dancing in Amsterdam (#134). Soon after, Eleonora Duse wired Craig from Nice, asking him to come and help with the scene of <span class=\"emph\">Rosmersholm</span>(#135). As soon as she was able, Isadora went to Nice where she joined the baby, Fraulein Kist, and her mother (#136, 137). Craig left Nice either before she arrived or shortly after, and made his way to Florence. In spite of the many letters written by Isadora in 1907, the two ceased to be lovers at this time. Isadora remained in Nice suffering from neuralgia until the end of [UNK] when she returned to Holland and began performing again (#157, 160). Her [UNK], which caused her great pain, was ascribed to “nerves” (#141, 145, 162, 257, 258). In 1919 she wrote to Craig, saying “For years I suffer from Neu-ras-then-ia which malady translated means Incurable Sorrow and Heartbreak...” (#240).</span> <span class=\"event\">Although their relationship was deteriorating and under great stress in 1907, Isadora and Craig agreed on a plan for the future which involved saving money and building a theater and school in Florence (#169, 179, 181, 186, 196, and 340). Although she was able to send Craig money from time to time, Isadora agonized over her inability to do enough through the summer of 1907 (#192, 194-196, and 198). She had great difficulty getting summer engagements (#169-175) and was under pressure from Craig to do more (#268 and 269).</span> <span class=\"event\">In September, after a long and discouraging summer, Isadora decided to vacation in Venice (#197-205). Craig was angry that she used her savings this way (#198). She visited him briefly in Florence on her way back to Germany (#273), after he had declined to join her in Venice. He was short of funds and wrapped up in his work in Florence, where he had several people working with him on a variety of projects (#268, 270, and 271). During her brief visit it became clear that Craig's romantic interest in her was finished (#205). The encounter upset her deeply and left them both with ambivalent feelings (#205, 258?, 272-274). Isadora now began to drink heavily and frequent “merrie company” to overcome her despair (#209, 210, 216 and 218). Craig felt that his work was not important to her, and was both hurt and hostile (#205, 272, 274, and 340).</span> <span class=\"event\">In December, Isadora left for a tour of Russia. She became friendly with Constantin Stanislavsky of the Moscow Art Theatre and spoke to him at length about Craig and his work (#214, 215, 217, and 218). She was instrumental in getting Stanislavsky to invite Craig in 1908 to design a work for the theater. Stanislavsky also apparently tried to help Isadora find support for moving her school from Germany to Russia.</span></div></li> <li class=\"chronitem\"> <span class=\"date\">1908</span> <span class=\"event\">After writing to Craig about Stanislavsky several times in January, Isadora's letter-writing tapered off. She returned briefly to Berlin, and then went back to Russia with several of her pupils to tour the Caucasus (#218 and 220). She wrote to Craig before going to London in July to perform at the Duke of York's Theatre and again before leaving for America in August. One of these letters (#222) enraged him (#281 and 282).</span></li> <li class=\"chronitem\"> <span class=\"date\">1909</span> <span class=\"event\">In 1909, Craig and Isadora met in St. Petersburg. The meeting, with Stanislavsky present, has been recounted differently by Isadora <div class=\"note\"> <p>Isadora Duncan, <span class=\"emph\">My Life</span>(New York, Boni and Liveright, 1927) pp 235-236</p></div> and by Edward Craig. <div class=\"note\"> <p>Craig, <span class=\"emph\">Gordon Craig,</span>p 252</p></div> Isadora's note (#224) asking Craig to come and see her may relate to this meeting.</span></li> <li class=\"chronitem\"> <span class=\"date\">1913</span> <span class=\"event\">On April 19, Isadora's children (Deirdre, her daughter by Craig, and Patrick, her son by Paris Singer) were drowned in the Seine. This tragedy set off an exchange of telegrams and letters between her and Craig from April to December. They apparently met at least once in Florence in the fall (#235).</span></li> <li class=\"chronitem\"> <span class=\"date\">1919-1920</span> <div class=\"eventgrp\"> <span class=\"event\">In December, 1919, Isadora and Craig met in Rome. At this time, Isadora was living with the musician Walter Morse [UNK], who she called her “Archangel” (#240, 242, and 247). She and Craig corresponded and saw each other on occasion through the spring of 1920 while Craig was living in Paris.</span> <span class=\"event\">There is nothing to indicate that Isadora Duncan and Gordon Craig not or corresponded after 1920, although they both thought and spoke of each other often until their deaths. In 1925, when [UNK] needed money and threatened to publish letters from her lovers to raise it, Craig corresponded with Paris Singer through his friend Richard Wallace to see about giving her money (#340).</span></div></li></ul>"}
{"value"=>"<p>The <span class=\"persname\">Craig</span>-<span class=\"persname\">Duncan</span> Collection consists of theater artist <span class=\"persname\">Gordon Craig's</span> collection of materials relating to the dancer <span class=\"persname\">Isadora Duncan</span>. It contains approximately 400 items dating from 1901 to 1957, the bulk of them falling in the years 1904-1920.</p> <p><span class=\"persname\">Gordon Craig</span> kept almost all of the letters which <span class=\"persname\">Isadora Duncan</span> wrote to him, as well as many of her notes and telegrams, from the time of their first meeting in December, 1904, until her death. He also kept photographs which they took of each other or which <span class=\"persname\">Isadora</span> sent to him; drawings and sketches which he made of her and her pupils; several programs from her concerts with his comments pencilled in; and ticket stubs, magazine covers, and other miscellany. In December, 1904, <span class=\"persname\">Craig</span> began to keep a series of notebooks filled with his notes on <span class=\"persname\">Isadora Duncan</span>, clippings, and an occasional letter relating to her. Of these notebooks, only two are in the <span class=\"persname\">Craig</span>-<span class=\"persname\">Duncan</span> Collection, one dating from 1924-1928 and the other from 1933 after the publication of <span class=\"persname\">Maurice Dumesnil's</span> book <span class=\"emph\">An Amazing Journey -</span><span class=\"persname\"> <span class=\"emph\">Isadora Duncan</span></span> <span class=\"emph\">in South America.</span>Other sketchbooks and notebooks, dating from 1903 to 1906, containing drawings, some of <span class=\"persname\">Craig's</span> notes on the theater, and <span class=\"persname\">Isadora's</span> translation of a lecture by <span class=\"persname\">Ernst Haeckel</span> which she and <span class=\"persname\">Craig</span> attended together in 1905, are included in the collection. A group of letters and notes written by <span class=\"persname\">Craig</span>, mostly to <span class=\"persname\">Isadora</span>, and a number of letters and telegrams to <span class=\"persname\">Craig</span> concerning <span class=\"persname\">Isadora</span> from friends and family complete the collection.</p> <p>The letters of <span class=\"persname\">Isadora Duncan</span> comprise the bulk of this collection, and provide glimpses into her relationship with <span class=\"persname\">Gordon Craig</span>, her intellectual and emotional life, and her struggles and triumphs in creating and performing dances. Because <span class=\"persname\">Craig</span> and <span class=\"persname\">Maurice Magnus</span> managed her bookings and other aspects of her business through their firm Direktion Vereinigter Kunst from 1905 to 1907, the letters also reveal something about her financial [UNK] and her practical problems as a performing artist.</p> <p><span class=\"persname\">Craig</span> reread the items in this collection at various times during his life. He made notes on many pieces at first or subsequent readings. Very few of his letters to <span class=\"persname\">Isadora</span> exist today. Those in this collection were retained by <span class=\"persname\">Craig</span> and never sent. The collection provides insights into the development of some of his ideas on the theater, information about his activities during the period from December 1904 to 1908, and evidence of <span class=\"persname\">Isadora's</span> influence on him and his career. It also reveals something of his character.</p> <p>Other correspondents are: <span class=\"persname\">Elise de Brouckère</span>, <span class=\"persname\">J. Paul Cooper</span>, <span class=\"persname\">Augustin Duncan</span>, <span class=\"persname\">Elizabeth Duncan</span>, <span class=\"persname\">Irma Duncan</span>, <span class=\"persname\">Raymond Duncan</span>, <span class=\"persname\">Fritz Endell</span>, <span class=\"persname\">Mary Endell</span>, <span class=\"persname\">Count Harry Kessler</span>, <span class=\"persname\">Fenella Lovel</span>, <span class=\"persname\">Elena Meo</span>, <span class=\"persname\">Barbara Rose</span>, <span class=\"persname\">Martin Shaw</span>, <span class=\"persname\">Paris Singer</span>, <span class=\"persname\">Dame Ellen Terry</span>, and <span class=\"persname\">Richard Wallace</span>.</p>"}
{"value"=>"<p class='list-head'>The Craig-Duncan collection is arranged in six series:</p>\n<ul class='arrangement series-descriptions'>\n<li><div class='series-title'><a href='/dan/19626#c335400'>A. Correspondence</a></div>\n<div class='series-description'><p>Correspondence is grouped by writer and a arranged into three subseries: 1) Isadora Duncan letters, cards, telegrams and notes, 2) Edward Cordon Craig letters and notes, and 3) Other Correspondents. The Isadora Duncan items are arranged in approximate chronological order, followed by a No Date catagory. Few of the letters were dated; a number of them were dated by Gordon Craig many years after he received them, and his dates are not always accurate. The letters have been placed in sequence on the basis of content. Only those giving insufficient clues to their place in sequence are in the No Date group. The Gordon Craig items were arranged in approximate chronological order in the same way. Most of the Craig letters and notes are not, however, real correspondence, since they were not sent. Some of his notes have been filed not by the date they were written, but by the time period to which they refer. Other correspondents are arranged alphabetically into the third [UNK] series. In addition, there are several pieces of correspondence regarding Isadora Duncan from Craig's friends in his notebooks (#340, 341).</p></div></li><li><div class='series-title'><a href='/dan/19626#c335459'>B. Drawings</a></div>\n<div class='series-description'><p>Drawings of or related to Isadora Duncan by Gordon Craig. Dated drawings are in approximate chronological order, followed by a No Date group. Three undated drawings of unknown authorship complete the series.</p></div></li><li><div class='series-title'><a href='/dan/19626#c335466'>C. Sketchbooks and Notebooks</a></div>\n<div class='series-description'><p>Gordon Craig's sketchbooks and notebooks of clippings, correspondence, notes, and drawings relating to Isadora Duncan. In chronological order.</p></div></li><li><div class='series-title'><a href='/dan/19626#c335472'>D. Programs</a></div>\n<div class='series-description'><p>Programs from Isadora Duncan performances, with notes by Gordon Craig. In chronological order, No Date items last.</p></div></li><li><div class='series-title'><a href='/dan/19626#c335476'>E. Photographs</a></div>\n<div class='series-description'><p>Photographs, some with annotations or inscriptions by Isadora Duncan or Gordon Craig. In chronological order, No Date items last.</p></div></li><li><div class='series-title'><a href='/dan/19626#c335483'>F. Miscellaneous</a></div>\n<div class='series-description'><p>Miscellaneous items including theater and train ticket stubs, a prescription, magazine covers and a poem, all relating to Isadora Duncan with the exception of a 1901 cover for Craig's magazine <span class=\"emph\">The Page.</span>Approximate chronological order, No Date items last.</p></div></li></ul>\n", "type"=>"arrangement"}
{"altrender"=>"unnumbered", "value"=>"<span class=\"bibref\">Principal written works by Gordon Craig: (earliest editions)</span> <span class=\"bibref\">Gordon Craig's Book of Penny Toys. Hackbridge, At the Sign of the Rose, 1899.</span> <span class=\"bibref\">Bookplates. [UNK], From the Sign of the Rose, 1900.</span> <span class=\"bibref\">Die kunst des theaters. (The Art of the [UNK]) Ubersetztundeingeleitet von Maurice Magnus mit [UNK] vorwort von Harry [UNK] [UNK]. Berlin und Leipzig: Hermann Seemann nachfolger, 1905.</span> <span class=\"bibref\">Isadora Duncan [:] Sechs [UNK] Studien. (Isadora [UNK]: Studies for Six Dance Movements) Leipzig, Insel Verlag, 1906.</span> <span class=\"bibref\">On the Art of the Theatre. London, William Heinemann, 1911.</span> <span class=\"bibref\">Towards a New Theatre. Forty designs for stage scenes with critical notes by the inventor Edward [UNK] Craig. London and Toronto, J.M. [UNK] and Sons Ltd, 1913.</span> <span class=\"bibref\">The Theatre--Advancing. Boston, Little, Brown, and Company, 1919.</span> <span class=\"bibref\">Scene. With a foreword and an introductory poem by John Masefield. London, Humphrey Milford Oxford University Press, 1923.</span> <span class=\"bibref\">Woodcuts and Some [UNK]. With an introduction by Campbell Dodgson, C.B.E. London and Toronto, J.M. Dent and Sons Ltd, 1924.</span> <span class=\"bibref\">Nothing or the Bookplate. With a handlist by E. Carrick. London, Chatto and Windus, 1924.</span> <span class=\"bibref\">Books and Theatres. London and Toronto, J.M. Dent and Sons Ltd, 1925.</span> <span class=\"bibref\">Henry Irving. London, J.H. Dent and Sons Ltd, 1930.</span> <span class=\"bibref\">A Production being thirty-two [UNK] plates of designs projected or or realised for <span class=\"emph\">The Pretenders</span>of Henrik Ibsen and produced at the Royal Theatre Copenhagen 1926. London, Oxford University Press Humphrey [UNK], 1930.</span> <span class=\"bibref\">On Eight Pages from <span class=\"emph\">The Story of the Theatre</span>by Glenn Hughes with some Fourteen Notes. Seattle, University of Washington Book Store, 1931.</span> <span class=\"bibref\">Ellen Terry and Her Secret Self. London, Sampeon, Low, Marston and Co, Ltd, 1931.</span> <span class=\"bibref\">Index to the Story of My Days. Some memoirs of Edward Gordon Craig. London, Hulton Press, 1957.</span> <span class=\"bibref\">Edward Gordon Craig. Radio talks. Extracts from a diary. Woodcuts. London, Discurio, 1962.</span> <p>Three long-laying records containing seven of the fourteen talks recorded by Craig for the B.B.C., 1951 to 1957. They include <span class=\"emph\">Isadora Duncan.</span></p> <p>For a complete bibliography see:</p> <span class=\"bibref\">Fletcher, Ifan Kyrle and Arnold Rood</span> <p>Edward Gordon Craig. A Bibliography. London, Society for Theatre Research, 1967.</p>"}
{"altrender"=>"unnumbered", "value"=>"<p> <span class=\"bibref\">Der Tanz der Zukunft (The dance of the future) eine vorlesung; ubersetzt and eingeleitet von Karl Federn. Leipzig, E. Diederichs, 1903.</span></p> <p> <span class=\"bibref\">The Dance of the Future. Authorized edition. [New York, The Bowles-Goldsmith Co., c. 1908]. (Not the same as Tanz der Zukunft.)</span></p> <p> <span class=\"bibref\">The Dance. Authorized edition. [New York, The Forest Press, 1909].</span></p> <p> <span class=\"bibref\">[UNK] sur la danse. Manuscrits inédits et textes communiqués par Ch. Dalliès, Fernand Divoire, Mario Meunier, Georges Delaguys, et illustrés de dessins inédits par Antoine Bourdelle, José Clará et Grandjouan. Paris, Eds. du Grenier [pref. 192</span></p> <p> <span class=\"bibref\">My Life. New York, Boni and Liveright, 1927.</span></p> <p> <span class=\"bibref\">The Art of the Dance; edited, with an introduction by Sheldon Cheney. New York, Theatre Arts, 1928.</span></p>"}