Une Américaine à Paris : Loïe Fuller

Ligeia ◽  
1990 ◽  
Vol N°7-8 (1) ◽  
pp. 59
Author(s):  
Carlo Ippolito
Keyword(s):  
Loie Fuller

Introduction

2019 ◽  
pp. 1-5
Author(s):  
Nancy Lee Chalfa Ruyter
Keyword(s):  
Historical Context ◽  
Short Discussion ◽  
Ted Shawn ◽  
And Performance ◽  
Loie Fuller

As a historical context for La Meri’s work, this is a short discussion of Western cultural borrowings and fusions from the Renaissance to the 20th century. After considering the early developments, this chapter mentions Maud Allan and Loie Fuller—two early 20th century dance artists who presented themes from non-Western cultures in their performances—and the later creations of Ruth St. Denis and Ted Shawn, who also drew on international sources for their creative choreographies. It then briefly discusses how La Meri’s work gradually came to include the study and performance of authentic dances from various world cultures.

Fuller, Loie (1862–1928)

2018 ◽  
Author(s):  
Rhonda Garelick
Keyword(s):  
Modern Dance ◽  
Early Career ◽  
Stephane Mallarme ◽  
World's Fair ◽  
Women Filmmakers ◽  
Art Nouveau ◽  
Auguste Rodin ◽  
The World ◽  
Popular Subject ◽  
Loie Fuller

Loie Fuller was a founding figure of modern dance. After an early career in American vaudeville, she moved to Paris where she created a new genre that drew on popular cabaret motifs combined with free-flowing, more natural movements performed in bare feet and flowing robes, and—crucially—the incorporation of technology. Gaining acclaim for her incorporation of electric lights, mechanical stagecraft, and her oversized silk costumes—all her own design—she used her many patented inventions to transform herself on stage into whirling sculptures of colored light and floating fabric. Known as the electricity fairy, Fuller was extremely popular with audiences, was often considered as a kind of magician, and became one of the most famous Americans in Europe. Midway through her career Fuller assembled a troupe of young dancers—Les Ballets Loie Fuller—who toured the world performing with her. In her later years she experimented with cinema, becoming one of the first women filmmakers in the world. Prominent artists and writers such as Auguste Rodin, Henri de Toulouse-Lautrec, and Stéphane Mallarmé were particularly interested in Fuller, and used her as a subject for their sculpture, painting, and poetry. She was also a popular subject for early photographers. Her fame was so great, and the French embraced her so thoroughly, that at the 1900 Paris World’s Fair, she was the sole performer to be granted her own theater, designed for her by esteemed Art Nouveau architect, Henri Sauvage.

The Idea in Motion

2020 ◽  
pp. 1-42
Author(s):  
Nell Andrew
Keyword(s):  
Nineteenth Century ◽  
Patterned Surfaces ◽  
Perceptual Cues ◽  
Works Of Art ◽  
Modern Experience ◽  
Loie Fuller

In the final decade of the nineteenth century, the serpentine dancer Loïe Fuller made her debut in Paris just as painters of the symbolist movement began to make first steps toward abstraction. In this chapter, works of art and decoration by Henri de Toulouse-Lautrec and the Nabis painters are linked to Fuller’s dance. With its repetitive, continuous motions and shifting perceptual cues, the serpentine dance allowed viewers a prolonged grasp of the sensation of watching Fuller’s transitory movement. In a similar effort, symbolist artists wove flat and patterned surfaces and serpentine lines, hindering visual rest and creating a springboard for abstract sensations of movement. Innovations in both media offered a formal and material web through which motion was sensed and caught by perception. This prolongment of form and feeling expresses the heart of the dialectics of the modern experience, balancing in a single sensation Baudelaire’s fleeting and eternal.

scholarly journals “Feeling” in Modern Dance Print Media: Loïe Fuller, Isadora Duncan, Maud Allan

2021 ◽  
Author(s):  
Emma Doran
Keyword(s):  
New York ◽  
Print Media ◽  
Modern Dance ◽  
New York Times ◽  
Regular Feature ◽  
Traditional Dance ◽  
Isadora Duncan ◽  
Modern Dancers ◽  
Style Of Writing ◽  
Loie Fuller

Between 1890 and 1920, modern dancers such as Isadora Duncan, Loïe Fuller, and Maud Allan presented a new performative aesthetic in dance. Breaking from the narrative storytelling that dominated nineteenth-century vaudeville and ballet, these dancers advanced non-narrative movement, thereby encouraging a new aesthetic engagement from the audience, namely, one that was rooted in notions of corporeal sensation rather than narrative telos or (melo)dramatic pathos. These new responses, this dissertation argues, are reflected in the new tactics for writing the dancing body, which at once render problematic the putative objectivity of journalistic criticism and reveal the limits of traditional dance criticism’s focus on intricate technique and plot line. This dissertation pursues its argument by studying over 300 print reviews of dances performed by Fuller, Duncan, and Allan between 1890 and 1920 culled from North-American archives and representing a spectrum of print media—from mainstream national media, such as The New York Times, to regional newspapers, to more specialized theatre magazines—to reveal compelling insight into hermeneutic entanglements of language and movement. Informed by the work of recent performance studies (e.g. Phelan; Schneider; Taylor), this dissertation approaches this body of dance reviews from an inverse perspective from that represented by traditional dance history scholarship. That is, instead of reading reviews as documentation in order to understand these dances, the study explores how reviewers perform criticism, thus framing our understanding of modern dance in specific ways. This dissertation engages with the correlation between media and performance as either documentary or performative, arguing that writing performance offers promises for both types of engagement with the live event. Collectively, these reviews reveal that dance criticism involved a metacritical reflection on the significance of the critical writing act itself, and advanced a style of synesthetic metaphor to describe novel kinesthetic experiences of spectatorship. Ultimately, the new tactics to modern dance criticism not only revealed a crisis in articulation but prompted a performative style of writing dance criticism that went in tandem with the development of the dance review genre itself, whose placement in popular print media was mounting to become a regular feature by the 1930s.

scholarly journals “Feeling” in Modern Dance Print Media: Loïe Fuller, Isadora Duncan, Maud Allan

2021 ◽  
Author(s):  
Emma Doran
Keyword(s):  
New York ◽  
Print Media ◽  
Modern Dance ◽  
New York Times ◽  
Regular Feature ◽  
Traditional Dance ◽  
Isadora Duncan ◽  
Modern Dancers ◽  
Style Of Writing ◽  
Loie Fuller

Between 1890 and 1920, modern dancers such as Isadora Duncan, Loïe Fuller, and Maud Allan presented a new performative aesthetic in dance. Breaking from the narrative storytelling that dominated nineteenth-century vaudeville and ballet, these dancers advanced non-narrative movement, thereby encouraging a new aesthetic engagement from the audience, namely, one that was rooted in notions of corporeal sensation rather than narrative telos or (melo)dramatic pathos. These new responses, this dissertation argues, are reflected in the new tactics for writing the dancing body, which at once render problematic the putative objectivity of journalistic criticism and reveal the limits of traditional dance criticism’s focus on intricate technique and plot line. This dissertation pursues its argument by studying over 300 print reviews of dances performed by Fuller, Duncan, and Allan between 1890 and 1920 culled from North-American archives and representing a spectrum of print media—from mainstream national media, such as The New York Times, to regional newspapers, to more specialized theatre magazines—to reveal compelling insight into hermeneutic entanglements of language and movement. Informed by the work of recent performance studies (e.g. Phelan; Schneider; Taylor), this dissertation approaches this body of dance reviews from an inverse perspective from that represented by traditional dance history scholarship. That is, instead of reading reviews as documentation in order to understand these dances, the study explores how reviewers perform criticism, thus framing our understanding of modern dance in specific ways. This dissertation engages with the correlation between media and performance as either documentary or performative, arguing that writing performance offers promises for both types of engagement with the live event. Collectively, these reviews reveal that dance criticism involved a metacritical reflection on the significance of the critical writing act itself, and advanced a style of synesthetic metaphor to describe novel kinesthetic experiences of spectatorship. Ultimately, the new tactics to modern dance criticism not only revealed a crisis in articulation but prompted a performative style of writing dance criticism that went in tandem with the development of the dance review genre itself, whose placement in popular print media was mounting to become a regular feature by the 1930s.

The Artist's Move

2018 ◽  
pp. 782-808
Author(s):  
Kim Grover-Haskin
Keyword(s):  
Big Data ◽  
Creative Process ◽  
Computational Thinking ◽  
Early Age ◽  
Dance Performance ◽  
The World ◽  
History Of ◽  
Evolution Of Technology ◽  
Loie Fuller ◽  
Dance And Technology

Dance and technology have been partners from an early age. In 1892 Loie Fuller recognized the potential in the latest theater lighting technologies that would enable her to creatively explore her dance and dance performance. Like Fuller, as technologies emerged to the world at large, dance artists began to explore the effect such technologies would have on their art. Eventually, explorations of dance and technology focused on how computers contributed to the performance of dance. This chapter will review the history of dance and technology culminating into a discussion of the next evolution of technology in the discipline of dance, the potential computational thinking and Big Data bring to the visualization of the creative process. Particular emphasis will focus on how the work, Synchronous Objects One Flat Thing reproduced, exemplifies the convergence of dance, technology, Big Data and visualization.

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