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Loie Fuller
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Loie Fuller was not a great dancer Although she studied dance as a child ...... More...
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Paper Abstract:
Discusses the art of dancer Loie Fuller and her illustrious career as a dancer. Fuller's unique contribution to dance as an innovative blend of the artistic and the scientific. Contends that although her dances cannot compare on a technical level with the kinds of special effects that even a straight-to-video movie has today, she is in many ways directly responsible for what we see on both stage and screen.
Paper Introduction:
Loie Fuller was not a great dancer Although she studied dance as a childshe quickly gave up on the lessons because she found them too difficult But this did not stop her from having an illustrious career as a dancer because Fuller did have something wondrous to offer her audiences whichwas a unique and innovative blend of the artistic and the scientific Although her dances in which she was partnered with the magic of earlyelectrical lighting cannot compare on a technical level
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Works Citedhttp://www.nku.edu/~canfieldd/loie/Current, Richard. As is the case with so many dancers, Fuller's artistry died with her,although it is still evoked in still images and descriptions. Her performances - which she continueduntil a year before her death in 1928 - were praised for her ability tocreate an amalgam of the power of science to help us understand the worldaround us and the power of art to help us appreciate the world around us. Fuller was well respected in the French scientific community, where she was a close personal friend of Marie Curie and a member of the French Astronomical Society (http://www.nku.edu/~canfieldd/loie/).Fuller's performances were not dances with light added, nor were they lightshows with some dancing thrown in. Fuller was notcontent to depend upon others for creating the effects that were integralto her performances, nor could she afford to have the lighting effects varyfrom one performance to another. Fuller continually experimented with the play of light - of differentcolors of light - on movement and different types of fabric. Rather, they were integrations oftechnology, science, and art, and the success of this integration wassufficiently great that Fuller achieved no small amount of fame andcritical praise in her lifetime. Fuller's personal history is a fascinating one. For the quarter century after she first setfoot on a stage, she performed in a wide range of venues, appearing withstock companies, on vaudeville, in burlesque shows, in Chautauqua-likeShakespearian readings, made it to Broadway, and even performed withBuffalo Bill's Wild West Show. But thescience that she brought to the service of art remains celebrated as herpioneering work is still incorporated into modern lighting design and anoverall conception in which light is a part of the magic of stage andscreen. Born in a salon inFullersburg, Illinois, in 1862, she worked as an actress as a child -making her debut on a Chicago stage at the age of four - as well as workingas a Temperance League singer. However, while skirtdances - in which dancers did relatively little dancing but insteaddepended upon manipulating skirts sewn of vast amounts of yardage somethingalong the fashion of ribbon dances or trick ropers - were fairly common,Fuller's use of light was not. She first began to create works in the genre that she would becomemore famous for - and is still most celebrated for - in 1891 (although thestory concerning her first light-and-dance extravaganza may be at least tosome extent apocryphal) when she was rehearsing a piece titled "Quack, MD".It was a version of the "skirt dances" that were growing increasinglypopular as modern dance began to establish itself as a serious dance form(and as it borrowed from various forms of folk dance). Her determination to have control over thelights that accompanied her performance led her to a scientificinvestigation of the nature of light as well as the chemistry involved increation emulsions very similar to the gels that are still used in stagelighting today: Fuller was an inventor and stage craft innovator who held many patents for stage lighting, including the first chemical mixes for gels and slides and the first use of luminescent salts to create lighting effects. Boston: Northeastern UP, 1997. She was also an early innovator in lighting design, and was the first to mix colors and explore new angles. Loie Fuller was not a great dancer: Although she studied dance as a childshe quickly gave up on the lessons because she found them too difficult.But this did not stop her from having an illustrious career as a dancer -because Fuller did have something wondrous to offer her audiences, whichwas a unique and innovative blend of the artistic and the scientific.Although her dances - in which she was partnered with the magic of earlyelectrical lighting - cannot compare on a technical level with the kinds ofspecial effects that even a straight-to-video movie has today, she is inmany ways directly responsible for what we see on both stage and screen.She made it undeniably clear that art and science are not competing goalsbut rather eager collaborators. Loie Fuller: Goddess of Light.
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