70:, 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.
36:
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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
558:. 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."
133:, 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
146:, 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.
46:(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).
177:(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
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173:. While St. Denis claimed a performance by Stebbins inspired her to dance, Shawn consciously embodied the Delsarte System in his work (and his book
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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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573:, 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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656:"Delsarte, François Alexandre Nicolas Chéri"
561:Nancy Lee Chalfa Ruyter, "The Delsarte Heritage,"
110:, and one of his many students (who also included
593:Physical Culture Founded on Delsartean Principles
388:No Fixed Points: Dance in the Twentieth Century
361:. Princeton Book Company. pp. 1–4, 8–12.
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520:Franck Waille, Christophe Damour (dir.),
98:Delsarte's ideas were influential to the
44:François Alexandre Nicolas Chéri Delsarte
157:more generally through the influence of
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1527:People associated with physical culture
579:The Delsarte system of physical culture
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445:. London: Dance Books. pp. 14–15.
359:Introduction to Modern Dance Techniques
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39:François Delsarte (Madeleine Delsarte)
232:(1st ed.). New York: Dodd, Mead.
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715:Johann Christoph Friedrich GutsMuths
285:. Psychology Press. pp. 48–52.
623:Works by or about François Delsarte
497:body closely echoed Delsarte's own.
443:Rudolf Laban: An Extraordinary Life
201:Delsarte was the uncle of composer
18:Delsarte System of Physical Culture
469:. New York: Vintage Books. p. 32.
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543:François Delsarte, une anthologie
391:. Yale University Press. p.
131:The Delsarte System of Expression
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441:Preston-Dunlop, Valerie (2008).
596:. New York: Fowler & Wells.
662:New International Encyclopedia
590:Carolina W. Le Farve. (1894).
420:. Routledge . pp. 64–67.
229:New International Encyclopedia
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570:Delsarte system of expression
385:; McCormick, Malcolm (2003).
792:Edward William Barton-Wright
550:A Brief History of Delsarte
538:, Paris, L'Harmattan, 2011.
524:, Paris, L'Harmattan, 2015.
205:and grandfather of painter
58:. He became a pupil at the
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740:Francisco Amorós y Ondeano
649:Laban Biography and Method
642:Oxford Dictionary of Dance
632:Works by François Delsarte
614:Works by François Delsarte
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137:and performing so-called
465:Wangh, Stephen. (2000).
31:François Delsarte (1864)
416:Hodgson, John (2016) .
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534:Franck Waille (dir.),
281:Thomas, Helen (1995).
181:, through the work of
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1045:Marie Bjelke Petersen
852:Edith Margaret Garrud
720:Friedrich Ludwig Jahn
357:Legg, Joshua (2011).
175:Every Little Movement
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545:, Paris, IPMC, 1992.
83:Influence and impact
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151:expressionist dance
62:, was for a time a
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402:978-0-300-09366-7
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