로이 풀러의 아르누보적 상징
Art Nouveau Style Symbolism in Loie Fuller's Dance
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Loie Fuller was one of the most innovative dance artists of the twentieth century. In the beginning of the 20th century, she was the most famous dancer in the world though some people wondered whether she was really dancing. She broke the traditional concept of choreography and prepared the way for the development of modern dance. As a "magician of light", her work influenced not only future artists in modern dance, such as Isadora Duncan and Martha Graham, but also a whole range of poets, painters, sculptors and intellectuals. She brought both revolutionary dance forms and technical innovations in costume and lighting and made important contributions to stage lighting and to cinema techniques. She became the personification of Art Nouveau and the inspiration for many artists who idealizing her and portrayed her in a countless art works. Also she was an inspiration for poets as well as artists, she served as an ideal symbol of the symbolist movement. In this study, the developmental path of Loie Fuller's dance style was examined from her early career at the burlesque skirt dancer in vaudeville and pantomime show to her prime time and later days. Through the study of her style, this writer pinpointed that Fuller read and portrayed the spirit of her period into dance and that is the fundamental reason why she became an icon of that cultural era. This study explains how she was accepted and interpreted as a pioneer of Art Nouveau and symbol of the symbolist movement through the critics and artists writings and criticisms. But as a conclusion, Fuller seems to have had a curious sponge like quality in aesthetic matters, absorbing and embodying the influences around her, while remaining convincingly original and unshackled to any one label or category.
Abstract
Loie Fuller was one of the most innovative dance artists of the twentieth century. In the beginning of the 20th century, she was the most famous dancer in the world though some people wondered whether she was really dancing. She broke the traditional concept of choreography and prepared the way for the development of modern dance. As a "magician of light", her work influenced not only future artists in modern dance, such as Isadora Duncan and Martha Graham, but also a whole range of poets, painters, sculptors and intellectuals. She brought both revolutionary dance forms and technical innovations in costume and lighting and made important contributions to stage lighting and to cinema techniques. She became the personification of Art Nouveau and the inspiration for many artists who idealizing her and portrayed her in a countless art works. Also she was an inspiration for poets as well as artists, she served as an ideal symbol of the symbolist movement. In this study, the developmental path of Loie Fuller's dance style was examined from her early career at the burlesque skirt dancer in vaudeville and pantomime show to her prime time and later days. Through the study of her style, this writer pinpointed that Fuller read and portrayed the spirit of her period into dance and that is the fundamental reason why she became an icon of that cultural era. This study explains how she was accepted and interpreted as a pioneer of Art Nouveau and symbol of the symbolist movement through the critics and artists writings and criticisms. But as a conclusion, Fuller seems to have had a curious sponge like quality in aesthetic matters, absorbing and embodying the influences around her, while remaining convincingly original and unshackled to any one label or category.
참고문헌 (13)
- 김말복, "무용예술코드" (2011), 한길아트
- 스티븐에스크릿, "아르누보" (2002), 한길아트
- Selma Jeanne Cohen, "International Encyclopedia of Dance. vol. 3" (1998), Oxford University Press
- Richard N., "Loie Fuller: Goddess of Light" (1997), Northwestern Univ. press
- Rhonda K. Garelick, "Electric Salome" (2007), Pronceton University Press
- Felicia McCarren, "Dance Pathologies: performance, Poetics, Medicine" (1998), Standford University Press
- 조은숙, "아르누보(Art Nouveau)적 관점에서 본 로이 풀러(Loie Fuller)의 예술 성향에 관한 연구", 무용예술학연구, 25(25), pp.217~235 (2008), 한국무용예술학회
- Carol Barko, "The Dancer and the Becoming of Language", Yale French Studies, 54, pp.173~187 (1977)
- Mary Lydon, "Skirting the Issue: Mallarme, Proust, and Symbolism", Yale French Studies, 74, pp.157~181 (1988)
- Sally Sommer, "Loie Fuller", The Drama Review, 19, pp.53~68 (1975)
- Sally Sommer, "Loie Fuller’s Art of Music and Light", Dance Chronicle, 4(4), pp.389~401 (1981)
- Amy Zornitzer, "Revolutionaries of the Theatrical Experience: Fuller and the Futurists", Dance Chronicle, 21(1), pp.93~105 (1998)
- "Le Theatre de la Loie Fuller. Le Theatre 4, August 11. Carolyn Sinsky, Loie Fuller" (1900)[URL]
