Done into Dance: Isadora Duncan in America

Acknowledgments

A C K N O W L E D G M E N T S To many people I owe my gratitude. First, to my dissertation advisor at New York University's Department of Performance Studies, Marcia B. Siegel, and to the rest of the committee : Lynn Garafola, Barbara Kirshenblatt-Gimblett, Peggy Phelan, and Richard Schechner. To Robert Crunden, Susan Foster, Peter Jelavich, Deborah Jowitt, and Susan Manning, who read the book manuscript with such care. To Hans Gumbrecht, Amy Koritz, and Bill Worthen, who made salient suggestions on particular chapters. To Duncan dancers Lori Belilove, Julia Levien, and Hortense Kooluris (who generously loaned her videotapes to me); to Duncan historian Margaretta Mitchell; to Gordon Craig scholar Arnold Rood; and to Dalcroze scholar Selma Landen Odom. To dance scholars Barbara Barker and Deborah Jowitt, for their help with photo research. To friends who generously offered their translation skills: Neda Doany, Judy Sebesta, and Jürgen Streeck. To research assistants Kamy Bolson, Christia Osborn, and Cathy Tubb. To the librarians, archivists, and administrators who have assisted me, including Madeleine Nichols, Monica Moseley, Rita Waldron, Richard Buck, and Heidi Stock, the New York Public Library for the Performing Arts Dance Collection; John Kirkpatrick, Ken Craven, Pat Fox, and Melissa Miller, the Harry Ransom Humanities Research Center, University of Texas at Austin; Claire Hudson, Theatre Museum, the Victoria and Albert Museum; Verna Curtis, Mary Ison, and Eveline Overmiller, the Library of Congress; Vicki Wulff, Performing Arts Library, the Library of Congress; Anne Caiger, the University Research Library, University of California, Los Angeles; Barbara R. Geisler, the San Francisco Performing Arts Library and Museum; Nicole L. Bouche, the Bancroft Library, University of California, Berkeley; Harold L. Miller, the State Historical Society of Wisconsin; Roger B. Berry, the University of California, Irvine, Library; Richard L. Popp, the University of Chicago Library; Lauren Bufferd, the Chicago Public Library; Sibylle Zemitis, the California State Library; Craig Marley and Constance Olds, the Metropolitan Museum of Art; Philip N. Cronenwett, the Dartmouth College Library; Faye Phillips, Louisiana State University; Melissa Dalziel, the Bodleian Library, University of Oxford; E. M. C. van Houts, Archivist, Newnham College, Cambridge University; Elizabeth Fuller, the Rosenbach Museum and Library; Teresa A. McGill, the Chicago Historical Society; Kathryn Mets and Tony Pisani, the Museum of the City of New York; and Helene Pinet, Musee Rodin. To my colleagues at the University of Texas at Austin, especially Jon Whitmore, dean of the College of Fine Arts; Sharon Vasquez, former head of dance and current chair of the Department of Theatre and Dance; and Coleman Jennings, former chair of the Department of Theatre and Dance. And, finally, to my extraordinary parents, Edwin and Claire Daly. The weaknesses of this book, however, I claim as my very own. ### Support for travel, research, and writing was provided by the University of Texas at Austin in the forms of a University Research Institute Summer Research Award, a College of Fine Arts Summer Research/Creativity Award, and grants from the Morton Brown Fund of the Department of Theatre and Dance. xvi DONE INToZ)