Ted Shawn Ruth St. Denis Pioneer & Prophet Prospectus San Franciso: John Howell, Pub., John Henry Nash, Printer, List of Subscribers; several plates, 450 limited edition, 1920, 17 scanned pages including photos and art
Ted Shawn Ruth St. Denis: Pioneer & Prophet Prospectus, 1920
The Book Ruth St. Denis, Pioneer & Prophet is being published under the patronage of the following subscribers, who have permitted their names to be used in this advertisement
Mr. & Mrs. Goddard Dubois, New York City
Comtesse Adah De Lachau, New Rochelle, New York
Mrs. Frank C. Havens, Piedmont, California
Mr. Charles W. Clark, San Mateo, California
Colonel & Mrs. John Hudson Poole, Detroit, Michigan
Mr. & Mrs. J. Creighton Ward, New York City
Mr. Albert M. Bender, San Francisco, California
Professor Samuel Hume, Berkeley, California
Mr. & Mrs. C. Vanderbilt Barton, New York City
Mr. Morgan A. Gunst, San Francisco, California
Mrs. Mary Fanton Roberts, New York City
Mr. W.R.K. Young, San Francisco, California
Mrs. Milton Eisner, San Francisco, California
Mrs. Orlando Rouland, New York City
Mrs. George Madison Millard, Pasadena, California
Madame Mariska Aldrich, Los Angeles, California
Dr. Arnold Genthe, New York City
Plate XXIII . . . Arnold Genthe
John Howell announces that he is about to publish Ruth St. Denis, Pioneer & Prophet by Ted Shawn. The book is to be printed by John Henry Nash, San Francisco. Limited to four hundred and fifty copies.
"Margaret, this is poetry!" Emerson is said to have remarked to Margaret Fuller when together they saw Fannie Elssler dance. "Waldo," replied Miss Fuller, "it is religion!" What would we not now give for an adequate record of the career of a dancer who could put into her dancing so much spirituality as to call forth such comments from such beholders! It does not exist. The modern renaissance of the dance has been treated by a number of acute, sympathetic critics, and, though this book by Mr. Shawn will be the first really adequate account of it, Miss St. Denis' contribution to it is stated in Modern Dancing and Dancers, by Caffin; The Dance, by the Kinneys; The Book of the Dance, by Arnold Genthe; Dancing and Dancers of Today, by J. Crawford Flitch; The Art of the Ballet, by Mark Perugini; Der Modern Tanz, by Hans Brandenburg; Le Ballet Contemporain, by Svetlow; Vaudeville, by Caroline Caffin; and in other works. But in Ruth St. Denis, Pioneer & Prophet, is for the first time an authentic record of what dancing means to an artist-dancer of high ideals and great attainments. The book should therefore be of especial interest and value to all dancers, to all lovers of the dance, and to all artists, whatever their medium of self-expression.
Ruth St. Denis created a new art, a synthetic art: of which creation this book makes a complete record. It is not the life-story of the artist, but rather a history of the dances that made her world-famous-how they originated, developed, flowered into works of consummate art, and furnished seeds that this "Burbank of the dance" utilized to produce still more beautiful results.
A full account is given of the East Indian cycle that first brought her fame: "Rahda," the mystic dance of the five senses; "The Incense Dance, or the Purda;" "The Cobras, or the Snake Charmer;" "The Nautch;" "The Yogi;" and "The Lotus Pond." There are complete descriptions of her Egyptian productions, in which were introduced the first ancient Egyptian dances to be done in this age; the Japanese dance play, "Omika;" the Hindoo love-tale, "Bakawali;" "The Garden of Kama;" "The Spirit of the Sea;" "The Legend of the Peacock;" "Ourieda: A Romance of the North African Desert;" "The Scherzo Waltz;" "Kuan-Yin;" "and "The St. Denis Mazurka," and other single dance numbers. A chapter is devoted to the magnificient "Pageant of Egypt, Greece, and India," produced by Miss St. Denis at the Greek Theatre of the University of California, in which she is the only dancer that has been honored by an invitation to appear. Acccounts are given of the famous Tiffany Ball in New York, the Potter Palmer Charity Ball in Chicago, and the many other gala events at which Miss St. Denis' dancing has been the prime attraction. Denishawn, the Ruth St. Denis and Ted Shawn School of Dancing and Its Related Arts, which in less than five years has become established as an internationally famous University of the dance, is also adequately treated.
The book will be profusely illustrated. Because of her incomparable pictorial genius, Miss St. Denis has been sought as a subject by painters, sculptors, and artist photographers wherever she has gone; and in this volume will appear exceptionally beautiful reproductions of works by such masters of painting as Robert Henri, and Kaulbach of Berlin; and of photography: "Veritas," of Munich; Boyer, of Paris; Baron Demeyer, and E.O. Hoppe, of London; Anne Brigman, Siri Fischer-Schneevoight, of Berlin; Arnold Genthe and Count Jean de Strelecki, of New York; and Arthur Kales and Francis Brugiere, of San Francisco. Not only will the plot, the dramatic action, the music, the stage setting, the costuming, the light effects, and the external history of each of Miss St. Denis' famous dances be set forth in detail, but each chapter of the text will be accompanied by a picture of the full stage setting and one of each costume worn.
No one else is fitted to make such a record of Miss St. Denis' career as Mr. Shawn. While he was studying for the ministry at the University of Denver, his health broke down; and to regain it he took up esthetic dancing as an interesting means of exercise. Not only was his health completely restored but he came so to appreciate the spiritual significance of the dance that he decided to devote himself to it, with no feeling that he had made any radical change in his choice of a life-work. He soon won recognition as America's foremost male dancer, differing from most of the others by his high ideals and serious purpose. After a tour of the country at the head of his own company, four years ago he joined Miss St. Denis as her premier danseur, and one year later they were married. Recognizing in her an artist with ideals kindred to his own, even before they met he had begun the collection of material on which he has drawn in the making of this book, and he has now in his possession upwards of a thousand different photographs of Miss St. Denis in her various dances, and innumerable press criticisms. And from constant association with her he has learned the esoteric history of her creations. A thorough student of the dance, its theory, its history, and its possibilities, he has contributed articles on the subject to a number of leading magazines of the country.
The book ends with a short monograph, a prophecy concerning the dance, by Miss St. Denis herself. As no one has done more to bring the dance to its present honored position than this artist-pioneer, surely no one is better fitted than she to see its unfolded possibilities. J. Crawford Flitch writes in his work previously named: "Miss St. Denis duly ranks as one of the most cultured dancers of her time, and in her special sphere, certainly the most learned." Her special sphere is the dance as a synthetic art, and it is in connection with the universality of the dance and its still untouched spiritual possibilities that she prophesies.
Plate XII . . . From a painting by F.A. Kaulbach
The foregoing was written by the late Professor William Dallam Armes, of the Department of English of the University of California, who also, just prior to his death, edited the entire manuscript of the book.
In size the book will be a royal quarto, and will be printed on Arnold unbleached, an English hand-made paper. This announcement shows the type page and the manner of treating the reproductions, but does not show the paper or size of the book.
Each chapter will have a decorated head-band with an insert indicative of the text, as shown on page 1. The frontispiece and title-page will be surrounded by a decorative border in colors. This work is by Mr. W. F. Rauschnabel. The frontispiece will be a reproduction in original colors of a painting by Robert Henri of Miss St. Denis in her famous "Peacock Dance."
The binding will be of Arches hand-made paper boards with an unbleached linen backbone and paper label.
Four hundred and fifty numbered copies will be printed and autographed by Miss St. Denis and the author, and will be for sale at $25.00 each, at the bookstore of John Howell, 328 Post Street, San Francisco.
Plate LVI . . . Arthur F. Kales
Plate III . . . White
Complere List of Illustrations with Notes
Frontispiece in color from a painting by Robert Henri
Plate
I. "Egypta," by H.T. Motoyoshi, San Francisco
The first Oriental photograph. This is the costume Ruth St. Denis made herself, under the force of her first inspiration, while whe was touring in "Du Barry."
II. "Rahda," by Burr McIntosh, New York
The first complete costuming of the Temple Dance. Note the nose-ring, later discarded. The background is the screen used prior to having a full stage setting.
III. "Rahda," by White, New York
The first complete scene for the Temple Dance. Reproduction of an actual Temple in India. Full stage picture.
IV. "Rahda," by White, New York
The Temple scene as it was ultimately developed. A full stage picure.
V. "Rahda," by Otto Sarony, New York
Seated figure in the posture of the idol, used to open and close the Temple Dance.
VI. "Rahda," by Otto Sarony, New York
A group of photographs showing:-(a) Sense of sight, (b) Sense of hearing, (c) Sense of smell, (d) Sense of taste, (e) Sense of touch, and (f) The wild dance, indicating the delirium of the senses.
VII. Incense, by Notman, Boston
The high-caste East Indian woman performing her ceremonies of worship, behind the Purda, the veil which separates the woman's quarters in the Hindoo household.
VIII. Incense, by Strauss-Peyton, Kansas City
The costume of blue-grey chiffon and pearls harmonized with the smoke.
IX. "The Cobras," by Ellis and Walery, London
East Indian bazaar street scene showing jugglers, merchants and fakirs, with the snake-charmer and her musicians departing after their impromtu performance. Full stage picture.
X. "The Cobras," by Notman, Boston
The dance where Miss St. Denis was the snake-charmer and her arms the snakes. The use of the emerald rings, which has been copied extensively, was her own invention.
XI. "The Nautch," by Ellis and Walery, London
Scene in a Rajah's palace. The Rajah is entertaining a visiting potentate with a Nautch. Full stage picture.
XII. "The Nautch,"
Reproduction of the painting by Kaulbach which for some time hung in the Metropolitan Museum in New York. This was the green costume.
XIII "The Nautch," by White, New York
The second costuming, which was of white and silver, with one hundred and twenty-five yards of Liberty silk in the skirt.
XIV. Parvati, A Nautch Dancer, by Ira Hill, New York
This was the black and gold Nautch dress used in the Pageant at the Greek Theatre at Berkeley and in vaudeville.
XV. East Indian Nautch, by Putnam & Valentine, Los Angeles
Given in the Denishawn Dance Theatre. Full Stage Picture.
XVI. "The Yogi," by "Veritas," Munich
The East Indian prince who renounced earthly things andd retired to the forest to meditate, where he attained Samadhi-complete spiritual peace.
XVII. "The Lotus Pond," by Putnam & Valentine, Los Angeles
A Ranee in her Garden in Cashmere.
XVIII. "Egypta," by White, New York
Invocation to the Nile. These were the first dances of ancient Egypt reproduced in modern times. Full stage picture, Amsterdam Theatre, New York.
XIX. "Egypta," by Walinger, Chicago
The Palace Dancer with two harpists. Two hieratic groups.
XX. The Egyptian Ballet, by Putnam & Valentine, Los Angeles
Ruth St. Denis, Ted Shawn, and eight Denishawn dancers. Full stage picture.
XXI. The Egyptian Ballet, by Ira Hill, New York
Ruth St. Denis and Ted Shawn in the posture of the Rebirth.
XXII. The Dance-Play, "Omika," by White, New York
The Japanese courtesan Omika walking in the Yoshiwara. Full stage picture.
XXIII. The Dance-Play, "Omika," by Arnold Genthe, New York
Head of Omika.
XXIV. The Dance-Play, "Omika," by White, New York
Full stage picture of Omika's apartments with the courtesan performing the "flower arrangements." Black and gold scene. Full stage picture.
XXV. Japanese Flower Hat Dance, by White, New York
XXVI. Japanese Maiden Defending Herself with a Spear, by Arnold Genthe, New York
From the Samurai fight dance in "Omika."
XXVII. A Japanese Poetess of the Thirteenth Century, by Arnold Genthe, New York
XXVIII. "Bakawali," A Hindoo Love Tale, by White, New York
Scene of Bakawali before the throne in Indra's Heavenly Court. Full stage picutre.
XXIX. "Bakawali," A Hindoo Love Tale, by Baron Demeyer, New York
Bakawali, an Apsaras (heavenly dancing girl), comes to earth to meet a mortal lover. The black and gold sari.
XXX. "The Garden of Kama," by Francis Brugiere, San Francisco
The Daughter of the House comes with offerings to invoke Kama, the East Indian Eros.
XXXI. "The Garden of Kama," by Francis Brugiere, San Francisco
Frightened of her success, the Daughter of the Ho use flees from Kama (Ted Shawn), but receives a love-poisoned arrow in her heart.
XXXII. "The Garden of Kama," by Francis Brugiere, San Francisco
The Daughter of the House sings, "There is no breeze to cool the heat of love."
XXXIII. "The Garden of Kama," by Francis Brugiere, San Francisco
Kama, in the guise of a poor fisher youth, is triumphant.
XXXIV. "The Legend of the Peacock," by Toloff, Evanston, Ill.
The East Indian woman who was turned into a peacock because of her excessive vanity.
XXXV. "The Scherzo Waltz," by Moffett, Chicago
XXXVI. Archaic Greek Dance, by Oscar Pach, Cleveland
XXXVII. "Ourieda," A Romance of the Desert, by Baron Demeyer, New York
Ourieda, slave dancing girl in an Algerian coffee house.
XXXVIII. "Ourieda," A Romance of the Desert, by Moffett, Chicago
A suite of Arabic dances. Ourieda being led off into the desert to the tent of her lover (Ted Shawn).
XXXIX. Kuan-Yin, by Ira Hill, New York
The Chinese Goddess of Mercy.
XL. Spirit of the Sea, by Ira Hill, New York
Head portrait.
XLI. Theodora, Empress of Byzantium, by Putnam & Valentine, Los Angeles
Full stage picture. Mosaic throne room scene by Maxwell Armfield.
XLII. Theodora, Empress of Byzantium, by Count Jean de Strelicki, New York
Theodore dances before Constantine.
XLIII. Greek Veil Dance, by Witzel, Los Angeles, California
Solo dance from the Opera "Orpheus" (Gluck) as performed at the Greek Theatre at Berkeley.
XLIV. The Ouled-Nail, by Count Jean de Strelecki, New York
Character in the scene "Street of the Dancers, Algiers."
XLV. Royal Siamese Ballet, by Putnam & Valentine, Los Angeles, California
Full stage picture.
XLVI. Pageant at the Greek Theatre at Berkeley, by International Film Service
Two scenes from the Egyptian section, one taken on the stage and one in the orchestra of the Greek Theatre.
XLVII. Pageant at the Greek Theatre at Berkeley, by Anne Brigman, Oakland
The Tillers of the Soil.
XLVIII. Pageant at the Greek Theatre at Berkeley, by Strauss-Peyton, Kansas City
A triptych picture of Parvati and the Holy Man, from the East Indian section of the Pageant: (a) She seeks the Way of Peace; (b) Renunciation of worldly things is the way; (c) The attainment.
XLIX. Denishawn, by Buffum, Los Angeles
The Ruth St. Denis and Ted Shawn School of Dancing and Its Related Arts. Ruth St. Denis giving the pupils a lesson in a dance of religious meditation.
L. Ruth St. Denis at Denishawn, by Edward Henry Weston, Tropico, California
In teaching costume.
LI. Ballet Class Work at Denishawn, by Putnam & Valentine, Los Angeles
LII. Pupils of Denishawn, by Arthur Kales, San Francisco
LIII. Egyptian Fete, by Underwood and Underwood, New York
Given by Louis Tiffany in New York. Flashlight picture showing the guest and the full stage picture, with Ruth St. Denis as the dancer, in the center.
LIV. Performance of Rahda by Ruth St. Denis, News Service Photograph
At the opening of Mrs. Frank C. Haven's Oriental home in Piedmont, California-"Wildwood."
LV. The Private Vaudeville Performance of Doctor Anna Shaw's at the McAlpin, by White, New York
Ruth St. Denis in the costume she wore at this occasion.
LVI. "The Light of Asia," by Arthur Kales, San Francisco, California
Ruth St. Denis as "The Vision of Yashodhara" in performances of Sir Edwin Arnold's classic at Krotona, Hollywood, California.
LVII. An Oriental Study of Ruth St. Denis, by Hixon-Connelly, Kansas City
LVIII. Ruth St. Denis in Private Life, by Strauss-Peyton, Kansas City
A portrait head.
LVIX. Ruth St. Denis, the Prophet of the Dance, by Baron Demeyer, New York
LX. Portrait, by E.O. Hoppe, London