59:, and composed a few songs. While studying singing at the Conservatoire, he became unsatisfied with what he felt were arbitrary methods for teaching acting. He began to study how humans moved, behaved and responded to various emotional and real-life situations. By observing people in real life and in public places of all kinds, he discovered certain patterns of expression, eventually called the Science of Applied Aesthetics. This consisted of a thorough examination of voice, breath, movement dynamics, encompassing all of the expressive elements of the human body. His hope was to develop an exact science of the physical expression of emotions, but he died before he had achieved his goals.
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into various rules, ‘laws’ or ‘principles.’ These laws were organized by
Delsarte in charts and diagrams. Delsarte did not teach systematically but rather through inspiration of the moment, and left behind no publications on his lessons. In America, Delsarte's theories were developed into what became known as the (American) Delsarte System.
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Duncan's official denial of any familiarity with
Desarte's work failed to convince her biographers as plausible: for example, in an interview of 1898 she extolled his mastery of the principles of flexibility and bodily lightness, and her aesthetic pronouncements on the "inner man" in relation to the
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Delsarte coached preachers, painters, singers, composers, orators and actors in the bodily expression of emotions. His goal was to help clients connect their inner emotional experience with the use of gesture. Delsarte categorized ideas related to how emotions are expressed physically in the body
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Ironically, it was the great success of the
Delsarte System that was also its undoing. By the 1890s, it was being taught everywhere, and not always in accordance with the emotional basis that Delsarte originally had in mind. No certification was needed to teach a course with the name Delsarte
547:. Des interactions dynamiques, PhD in history, Lyon, Université Lyon 3, 2009, 1032 pages + CDROM of annexes (manuscripts, interview of Joe Williams, video reconstitutions of body exercises) (the last and longer chapter of this thesis concerns Delsarte training for the body).
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illustrating a poem, story or concept, thereby bringing
Delsarte's work closer to dance. According to a contemporary description, Stebbins's statue poses, spiralling from head to toe, would "flow gracefully onward from the simple to complex... commencing with a simple
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Laban is said to have acknowledged the stimulus of
Delsarte's work and appears to have studied what he loosely referred to as "Delsarte mime" while in Paris between 1900 and 1908; the evolution of his own movement theory seems to reflect familiarity with Delsartian
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attached, and the study regressed into empty posing with little emotional truth behind it. Stephen Wangh concludes, "it led others into stereotyped and melodramatic gesticulation, devoid of the very heart that
Delsarte had sought to restore."
122:, which became a major success with six editions (as well as numerous copycat publications). Stebbins also lectured extensively on Delsarte's theories, and displayed them (in conjunction with harmonic gymnastics) by
135:, and continuing with a slow, rhythmic motion of every portion of the body." Although she did not describe herself as a dancer, from 1890 at the latest she started to perform actual dances as well as poses.
35:(19 November 1811 – 20 July 1871) was a French singer, orator, and coach. Though he achieved some success as a composer, he is chiefly known as a teacher in singing and declamation (oratory).
166:(1954) is a key English-language text on the subject). As well as permeating the entire modern-dance movement in America, Delsartian influence may also be felt in German
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continued in their footsteps by developing a system of 'harmonic gymnastics', and in 1886 she published a book building on the foundation of
Delsarte's theories titled
162:. While St. Denis claimed a performance by Stebbins inspired her to dance, Shawn consciously embodied the Delsarte System in his work (and his book
114:, who brought his teacher's theories to America in lecture demonstrations he delivered in New York and Boston in 1871. However, MacKaye's student
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There was a renewed interest in
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Delsarte never wrote a text explaining his method, and neither did his only protégé, the
American actor
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Gestures and
Attitudes: Exposition of the Delsarte Philosophy of Expression, Practical and Theoretical
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An Acrobat of the Heart: A Physical Approach to Acting Inspired by the Work of Jerzy Grotowski
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posing (in 1902). Her performances ultimately helped Delsarte's ideas permeate modern dance.
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562:, by Genevieve Stebbins; public-domain, online version on Internet Archive.
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movement in the late 19th century. Delsarte intended his work for the
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Dance, Modernity, and Culture: Explorations in the Sociology of Dance
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Trois décennies de recherches européennes sur François Delsarte
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Corps, arts et spiritualité chez François Delsarte (1811–1871)
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Dance Research: The Journal of the Society for Dance Research
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Dance Research: The Journal of the Society for Dance Research
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This article incorporates text from a publication now in the
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Ruyter, Nancy Lee Chalfa (1996). "The Delsarte Heritage".
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Every Little Movement: A Book about François Delsarte
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Mastering Movement: The Life and Work of Rudolf Laban
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645:"Delsarte, François Alexandre Nicolas Chéri"
550:Nancy Lee Chalfa Ruyter, "The Delsarte Heritage,"
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350:. Princeton Book Company. pp. 1–4, 8–12.
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511:François Delsarte, une recherche sans fin
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87:Delsarte's ideas were influential to the
33:François Alexandre Nicolas Chéri Delsarte
146:more generally through the influence of
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568:The Delsarte system of physical culture
434:. London: Dance Books. pp. 14–15.
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348:Introduction to Modern Dance Techniques
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28:François Delsarte (Madeleine Delsarte)
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221:(1st ed.). New York: Dodd, Mead.
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704:Johann Christoph Friedrich GutsMuths
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274:. Psychology Press. pp. 48–52.
612:Works by or about François Delsarte
486:body closely echoed Delsarte's own.
432:Rudolf Laban: An Extraordinary Life
190:Delsarte was the uncle of composer
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458:. New York: Vintage Books. p. 32.
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532:François Delsarte, une anthologie
380:. Yale University Press. p.
120:The Delsarte System of Expression
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585:. New York: Fowler & Wells.
651:New International Encyclopedia
579:Carolina W. Le Farve. (1894).
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409:. Routledge . pp. 64–67.
218:New International Encyclopedia
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559:Delsarte system of expression
374:; McCormick, Malcolm (2003).
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781:Edward William Barton-Wright
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539:A Brief History of Delsarte
527:, Paris, L'Harmattan, 2011.
513:, Paris, L'Harmattan, 2015.
194:and grandfather of painter
47:. He became a pupil at the
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638:Laban Biography and Method
631:Oxford Dictionary of Dance
621:Works by François Delsarte
603:Works by François Delsarte
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1034:Marie Bjelke Petersen
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346:Legg, Joshua (2011).
164:Every Little Movement
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851:George Hackenschmidt
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534:, Paris, IPMC, 1992.
72:Influence and impact
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140:expressionist dance
51:, was for a time a
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1338:Guru Hanuman
1308:Manohar Aich
1301:Bodybuilding
1254:Armand Tanny
1224:Tony Sansone
1209:Steve Reeves
1149:Jack LaLanne
1049:Alan Calvert
916:Arthur Saxon
911:Eugen Sandow
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1129:Bob Hoffman
1114:John Grimek
1089:Mark Forest
951:Monte Saldo
906:Joan Rhodes
871:Thomas Inch
816:Tony Emmott
796:Victor Dane
697:Antecedents
516:Ted Shawn,
176:Mary Wigman
168:Tanztheater
1490:Categories
1435:Gymnastics
1343:K. V. Iyer
1274:Al Treloar
1214:Leo Robert
1204:Bill Pearl
1194:Kid Parker
1164:Gilman Low
1044:Paul Bragg
1019:Joe Bonomo
1014:Mark Berry
881:Dan McLeod
791:Niels Bukh
202:References
1259:Vic Tanny
1169:Dan Lurie
982:New World
941:Maxalding
876:John Lees
320:0264-2875
160:Ted Shawn
1474:Category
896:Reg Park
764:European
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133:attitude
1455:Pilates
1418:Related
1279:Turners
1094:Ed Fury
958:Vulcana
756:Western
748:Systems
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