Body Knowledge
Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century
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Product details:
- Publisher OUP USA
- Date of Publication 17 October 2013
- ISBN 9780199898039
- Binding Paperback
- No. of pages304 pages
- Size 155x231x22 mm
- Weight 440 g
- Language English
- Illustrations 8 music examples and 21 photographs 0
Categories
Short description:
This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.
MoreLong description:
In the early twentieth century, female performers regularly appeared on the stages and screens of American cities. Though advertised as dancers, mimics, singers, or actresses, they often exceeded these categories. Instead, their performances adopted an aesthetic of intermediality, weaving together techniques and elements drawn from a wide variety of genres and media, including ballet, art music, photography, early modern dance, vaudeville traditions, film, and more. Onstage and onscreen, performers borrowed from existing musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers, skating neatly across various media, art forms, and traditions. Behind the scenes, they experimented with cross-promotion, new advertising techniques, and various technologies to broadcast images and tales of their performances and lives well beyond the walls of American theaters, cabarets, and halls. The performances and conceptions of art that emerged were innovative, compelling, and deeply meaningful.
Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century examines these performances and the performers behind them, highlighting the Ziegfeld Follies and The Passing Show revues, Salome dancers, Isadora Duncan's Wagner dances, Adeline Genée and Bessie Clayton's "photographic" danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. By destabilizing the boundaries between various media, genres, and performance spaces, each of these women was able to create performances that negotiated turn-of-the-century American social and cultural issues: contemporary technological developments and the rise of mass reproduction, new modes of perception, the commodification of art and entertainment, the evolution of fan culture and stardom, changing understandings of the body and the self, and above all, shifting conceptions of gender, race, and sexual identity. Tracing the various modes of intermediality at work on- and offstage, Body Knowledge re-imagines early twentieth-century art and entertainment as both fluid and convergent.
Delves into scholarship that has been either ignored or misinterpreted by other researchers... The superior research and clear prose make this book a welcome addition to the scholarship on this era. Highly recommended.
Table of Contents:
List of Illustrations
List of Musical Examples
Acknowledgements
Prologue: Staging Intermediality: Darktown, Downtown
1. Choreographing Salome: Recreating the Female Body
2. Acting Ancient: Hellenism, Pageantry, and American Modernity
3. Dancing Music: Isadora Duncan and Wagnerism in the American Imagination
4. Dancing Pictures: Rita Sacchetto's Tanzbilder
5. Moving Images: Adeline Genee and Bessie Clayton's Danced Histories
6. Opera on Camera, Opera on Stage: Anna Pavlova and The Dumb Girl of Portici
Finale: Performing Intermediality in The Passing Show of 1913
Bibliography
Index
