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became the slave of her own shadow. Like everything that was trivial in her life, her trivial death brought her glory back. A Paris cynic wrote on that occasion: »Ms. Isadora Duncan died the way she herself would have directed it«. The charysmatic Isadora influenced the dance and the ballet of our entire century. The different paths of great Fokine, Myassine and the neo-classicists [particularly the appearance and power of Modernism] have nevertheless accepted her desire for free thought, art and love. She represents our own dream of a play beyond death, and leads us further on, into the 21st century. Today, at the end of the millenium, when we concentrate all our historic experiences, when we do not escape from them but use them as the means for creating new forms, and when we definitely get rid of the terror of dogmatic ideas in life and art, Isadora seems to me a spirit reconciling the oppositions created during her lifetime. This controversial artiste, a person of great experience of life, the most written about dancer of all times, the phenomenon of play - equals the greatest men and women of our epoch. Isadora - Isis doron - the gift of the Godess Isis, is a dance on dance. □ Jelena Šantić

Jelena Šantić Personal Born (July, 18th) in Belgrade, Yugoslavia. Prima ballerina in the National Theatre, Belgrade, the coreographer and teacher of dance. Started professional career as dancer in 1963 in the National Theatre in Belgrade, and from then on played a wide repertory of roles in classical and modern ballet. In 25 years od carrer worked with a number of teachers and choreographers, including: O. Lepeshinskaya, O. Jordan, P. Darell, A. Seh, B. Shaw, M. Atanasiu. Danced in all major cities of Europe, including Paris,

Copenhagen, Lausanne, Moscow, Madrid, Barcelona, Berlin, Dresden... From 1985 on contributes articles on dance to major newspapers and magazines in Yugoslavia. Teaches classical ballet in a state school in Belgrade. Education Classical ballet school in Belgrade. Specialization in Monte Carlo [with prof. Marika Bezobrazova]; in Cannes [the International School of Rosella Hightower]; in Nice [with famous Serge Lifar]. In 1972-73 studies in Moscow [with Marina Semionova], In 1984 studies modern aspects of danse on a journey to the USA. In 1985 graduates dance pedagogue at the Academy of Theatrical Arts in Belgrade. Professional Major roles include; Giselle and Mirta [»Giselle«], Odilia [»Swan Lake«], Juliette [»Les Contes d’Hoffmann«], Ossa [»Peer Gynt«]. Also parts in »Les Silfides«, »Las Pasiones«, »Makar Tchoudra«, »Don Quixote«, »In the Gardens of Granada« etc. As Nastasya Filipovna, in the drama performance of the same title, took part at international festivals in Hungary, Quebec and in the May 1991 in the USSR. Choreographies include: Aeschilus »Oresteia«, Artaud’ »Sangsaut«, Brecht’s »Baal«, Webster’s »The Duchess of МаШ«, An-sky’s »The Dybbuk«, Euripides’ »The Balkanians«, Šnajder’s »The Silence of Nuns«. Author of a broadcast on the history of Russian ballet for the TV Belgrade in 1986. Currently works on a »visual dictionary« of dance and ballet for the same TV company. The main organizer of the International Colloquium on Dance, in Belgrade 1990 [in cooperation with the CIDD-UNESCO]. Member of CIDD-UNESCO [Conseil International de Danse, UNESCO]. ELIA [Europien league of instituts of arts]. The Society of Dance History Scholars [New York]. □