Antique Chiton in the Choreographic Heritage of Isadora Duncan: The Classical Ideal and Its Stage Incarnation

The aim of this article is to analyze the central role of the stage costume, particularly the antique chiton, in Isadora Duncan's choreographic work, defining it as a fundamental element of her philosophy of free dance. The study seeks to identify the origins and specific characteristics of this costume's development under the influence of ancient art and the innovative trends of the early twentieth century. The research materials included photographs, graphic sketches, and artistic works capturing Duncan's performances, drawn from albums, exhibition catalogs, and museum collections. These are supplemented by written sources, such as Duncan's own theoretical works and memoirs, as well as critical publications on her legacy. The methodological approach is based on art historical analysis, integrating methods of iconographic study of visual materials with comparative and historical-cultural analysis of written sources. This allows for a comprehensive examination of the costume not as an isolated artifact, but within the context of Duncan's dance philosophy and its contemporary reception. The research process begins with an analysis of the theoretical foundations of Duncan's work, drawn from her texts, which formulate the principles of "free dance" as an expression of naturalness and spiritual impulse. The next stage involves identifying the ancient sources of her inspiration, studying Greek sculpture, vase painting, and architecture that served as prototypes for her plasticity and drapery. The study then moves to the practical implementation of these ideas, examining her early performances and the evolution of the stage costume, including the role of her brother, Raymond Duncan. Subsequently, the interpretation of other artistic epochs in the dancer's work is explored, using her dance inspired by Botticelli's "Primavera" as an example, which synthesizes the antique ideal with Renaissance traditions. The final stage analyzes the reception and representation of Duncan's costume in the works of Modernist artists, characterizing how her innovative stage image was perceived by the art community of the time. It is established that Duncan's costume was not a literal reconstruction but represented a creative synthesis. It uniquely combined a deep study of antique monuments with the artistic explorations of her era, including Art Nouveau aesthetics and ideas of costume reform. The chiton functioned as a plastic extension of the body, visually embodying a new concept of corporeality based on freedom and naturalness, and became a vital component of her revolutionary stage image, widely captured and interpreted by Modernist artists.