Loïe Fuller
Mary Louise Fuller , known as Loïe Fuller , is an American dancer , famous for the veils which it made whirl in her choreographies. It was born with Fullersburg (Illinois) the January 15th 1862 and died in Paris on January 1st 1928.
According to one of the versions of its legendary rise towards glory, it is as an actress of review that she would have discovered her vocation with New York in 1889, thanks to a too large costume: concerned not to stumble on its long white silk shirt, she improvises great movements and the public reacts spontaneously by exclaiming “a butterfly! … An orchis! … ”. Its first choreography, the serpentine Dance , created in Paris in 1892, was a success such as many imitatrices adapted it at once. Good number of the first sequences of images Film ées present them.
As of its Parisian beginnings with the Madnesses Shepherdess, it becomes one of the most important artists and best paid in the entertainment world. By its freedom of invention, it is the first to carry out scenographies of a kind of which the large theorists of the modern scene, Edouard Gordon Craig and Adolphe Appia, had dreamed, which regarded the light as an basic element of the representation. The advent of electric lighting and the creative imagination of Fuller cause a revolution in the performing arts. Whirling on a square of glass lit under, carved by the beams of tens of side projectors, drowned in floods (sometimes of the hundreds of meters) of light fabric, Fuller, metamorphosed by the color, fills up the scenic space of its luminous forms moving. In some of its parts, mirrors strategically placed and sets of learnedly studied lightings gear down its image ad infinitum.
The artistic avant-garde, the Symbolists, Mallarmé which regards it as the incarnation even Utopia Symbolist, thus summarizes the impression which its dance made him: “intoxication of art and, simultaneous, industrial achievement”. It succeeds in causing the admiration of all the public ones by its democratic art, cash inter alia Rodin, Lautrec, Jules Chéret, Rupert Carabin, the astronomer Camille Flammarion (it was member of the company of Astronomie), Hector Guimard and the Curie among her friends and admirors.
Only of rare artists of which Jane April had dared the solo danced without corset, playing almost exclusively of its arms (contrary to the academic dance where any share of the feet). By its full, sinuous and continuous movements, it inaugurates one new era.
It deposited a total of ten patents and copyright, mainly connected to its accessories (chemical salts) and devices of lighting.
Its success was not transitory, but as a dancer it was eclipsed in 1902 by Isadora Duncan, its compatriot, whom it contributed to make known in Europe. In spite of long and impressive career, she was practically forgotten after her death.
She published her Mémoires in 1908, which was republished in 2002 under the title My Life and the dance (Paris, editions the Eye of Gold).
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