Question:
Duncan began her dancing career at a very early age by giving lessons in her home to neighbourhood children, and this continued through her teenage years. Her novel approach to dance was evident in these early classes, in which she "followed [her] fantasy and improvised, teaching any pretty thing that came into [her] head". A desire to travel brought her to Chicago, where she auditioned for many theater companies, finally finding a place in Augustin Daly's company. This took her to New York City where her unique vision of dance clashed with the popular pantomimes of theater companies.
Breaking with convention, Duncan imagined she had traced dance to its roots as a sacred art. She developed from this notion a style of free and natural movements inspired by the classical Greek arts, folk dances, social dances, nature and natural forces as well as an approach to the new American athleticism which included skipping, running, jumping, leaping and tossing. Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement. To restore dance to a high art form instead of merely entertainment, she strove to connect emotions and movement: "I spent long days and nights in the studio seeking that dance which might be the divine expression of the human spirit through the medium of the body's movement." She believed dance was meant to encircle all that life had to offer--joy and sadness. Duncan took inspiration from ancient Greece and combined it with an American love of freedom. Her movement was feminine and arose from the deepest feelings in her body. This is exemplified in her revolutionary costume of a white Greek tunic and bare feet. Inspired by Greek forms, her tunics also allowed a freedom of movement that corseted ballet costumes and pointe shoes did not. Costumes were not the only inspiration Duncan took from Greece: she was also inspired by ancient Greek art, and utilized some of its forms in her movement (see image). Duncan wrote of American dancing: "let them come forth with great strides, leaps and bounds, with lifted forehead and far-spread arms, to dance." Her focus on natural movement emphasized steps, such as skipping, outside of codified ballet technique. Duncan also cited the sea as an early inspiration for her movement. Also, she believed movement originated from the solar plexus, which she thought was the source of all movement. It is this philosophy and new dance technique that garnered Duncan the title of the creator of modern dance.
Answer this question using a quote from the text above:

what was the concept of her philosophy?

Answer:
Duncan's philosophy of dance moved away from rigid ballet technique and towards what she perceived as natural movement.

input: Outside her better-known music career, Harvey is also an occasional artist and actress. In 1998 she appeared in Hal Hartley's film The Book of Life as Magdalena -- a modern-day character based on the Biblical Mary Magdalene -- and had a cameo role as a Playboy Bunny in A Bunny Girl's Tale, a short film directed by Sarah Miles, in which she also performs "Nina in Ecstasy", an outtake from Is This Desire? (1998). Harvey also collaborated with Miles on another film, Amaeru Fallout 1972, which includes Harvey performing a cover of "When Will I See You Again." Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre. In 2010, she was invited to be the guest designer for the summer issue of Francis Ford Coppola's literary magazine Zoetrope: All-Story. The issue featured Harvey's paintings and drawings alongside short stories by Woody Allen. Speaking of her artistic contributions to the magazine in 2011, Harvey said: "the first opportunity I ever had to show any work was in this magazine. They were drawn while I was writing and recording the record (Let England Shake). It does relate to the record in the way the cycle keeps happening." In December 2013, Harvey gave her debut public poetry reading at the British Library. On 2 January 2014 PJ Harvey guest-edited BBC Radio 4's Today programme. In October 2015, PJ Harvey published her first collection of poetry, a collaboration with photographer Seamus Murphy, entitled The Hollow of The Hand. To create the book, PJ Harvey and Seamus Murphy made several journeys to Kosovo, Afghanistan, and Washington DC. Seamus Murphy had previously worked with PJ Harvey to create 12 Short Films for Let England Shake.

Answer this question "Does she have any hobbies?"
output: Harvey is also an accomplished sculptor who has had several pieces exhibited at the Lamont Gallery and the Bridport Arts Centre.

Answer the question at the end by quoting:

Born Florence Annie Bridgwood in Hamilton, Ontario, she was youngest of three children of George Bridgwood, an English-born carriage builder and Charlotte "Lotta" Bridgwood (nee Dunn), a vaudeville actress. Charlotte Bridgwood had emigrated to Canada from Ireland after the Great Famine with her family as a child. She was known professionally as Lotta Lawrence and was the leading lady and director of the Lawrence Dramatic Company. At the age of three, Lawrence made her debut onstage with her mother in a song and dance routine.
Finding themselves "at liberty," Lawrence and Solter in 1909 were able to join the Independent Moving Pictures Company of America (IMP). The company, founded by Carl Laemmle, the owner of a film exchange (who later absorbed IMP into Universal Pictures, which he also founded and also the president), was looking for experienced filmmakers and actors. Needing a star, he lured Lawrence away from Biograph by promising to give her a marquee. First, Laemmle organized a publicity stunt by starting a rumor that Lawrence had been killed by a street car in New York City. Then, after gaining much media attention, he placed ads in the newspapers that announced, "We nail a lie", and included a photo of Lawrence. The ad declared she is alive and well and making The Broken Oath, a new movie for his IMP Film Company to be directed by Solter. Laemmle had Lawrence make a personal appearance in St. Louis, Missouri in March 1910 with her leading man to show her fans that she was very much alive, making her one of the first performers not already famous in another medium to be identified by name by her studio. Laemmle generated attention by falsely claiming that Lawrence's St. Louis fans were so excited to learn that she had not died that they rushed her in a frenzy and tore her clothes off. Partially due to Laemmle's ingenuity, the "star system" was born and before long, Florence Lawrence became a household name. However, her fame also proved that the studio executives who had concerns over wage demands soon had their fears proved correct. Laemmle managed to lure William Ranous, one of Vitagraph's best directors, over to IMP. Ranous introduced Laemmle to Lawrence and Solter, and they began to work together. Lawrence and Solter worked for IMP for eleven months, making fifty films. After this, they went on vacation in Europe. When they returned to the United States, they joined a film company headed by Siegmund Lubin, described as the "wisest and most democratic film producer in history". She once again teamed with Arthur Johnson, and the pair made 48 films together under Lubin's direction. At the time, the film industry was controlled by the Motion Picture Patents Company (MPPC), a trust formed by the major film companies. IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films. IMP, therefore, had powerful enemies in the film industry. It managed to survive largely due to Lawrence's popularity.

did they have any problems with the company?
IMP was not a member of the MPPC, and hence operated outside its distribution system. Theaters found showing IMP films lost the right to screen MPPC films.