Labyrinthine Depictions and Tempting Colors: the Synaesthetic Dances of Loïe Fuller As
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Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Caroline J. Kappel November 2007 2 © 2007 Caroline J. Kappel All Rights Reserved 3 This dissertation titled Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography by CAROLINE J. KAPPEL has been approved for the Interdisciplinary Arts and the College of Fine Arts by William F. Condee Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 4 ABSTRACT KAPPEL, CAROLINE J., Ph.D., November 2007, Interdisciplinary Arts Labyrinthine Depictions and Tempting Colors: The Synaesthetic Dances of Loïe Fuller as Symbolist Choreography (246 pp.) Director of Dissertation: William F. Condee This study explores Loïe Fuller’s use of synaesthesia to bring together various sensations so as to create a dreamlike effect in her choreography, while at the same time presenting a visual representation of symbolist ideals. On the music-hall stage she created popular ideas that had otherwise been restricted to small experimental theaters. In the visual arts, she became a constant public image of poster art as well as paintings, sculptures, and prints. She also dramatically presented the visualization of avant-garde color theories, while simultaneously representing symbolist ideals of the literary world. By tracing her explorations with the other arts in the context of various artistic, scientific, and movement theories, Fuller’s work can serve as a model for interdisciplinary studies in the fine arts. In that regard, this dissertation considers an area of art practice, namely dance, that is commonly neglected by art historians as many are not fully aware of how integrated an art form it is. The results of this study reveal that the choreography of Fuller is a visual representation of symbolist ideals through her use of synaesthesia. Fuller found contradictory and highly individualistic ways to communicate moods, emotions, and colors in her choreography, and she communicated personal messages of a spiritual, moral, or religious nature through a variety of senses. By tracing her explorations with 5 the other arts in the context of various artistic, scientific, and movement theories, Fuller’s work serves as a model for interdisciplinary studies in the fine arts. In that regard, this dissertation also considers how dance in itself incorporates movement, music, visual arts, and philosophical and aesthetic ideals. Approved: _____________________________________________________________ William F. Condee Professor of Interdisciplinary Arts 6 For my husband, Henry C. Kappel IV 7 ACKNOWLEDGMENTS First and foremost, I would like to dedicate this dissertation to all the faculty members in the School of Interdisciplinary Arts who have helped me in the doctoral program. I am most grateful to my advisor, Dr. William F. Condee, for his invaluable support and guidance throughout this endeavor. I also wish to express special thanks to Dr. Dora Wilson, Dr. George Weckman, and Dr. Zelma Badu-Younge for serving on my dissertation committee. Second, I wish to thank the faculty members in the School of Dance for allowing me to teach, dance, choreograph and perform. I am most grateful to Madeleine Scott for her guidance and inspiration. Third, I wish to thank my family and friends. Most importantly, I thank my husband, who has provided me strength and guidance when I needed it most. Finally, I am indebted to more people than it would be permissible to print, for I have been variously inspired, mentored, and supported during untold months of work on this project. The mentors who led me, colleagues who supported me, authors who influenced me, family members and friends who supported me in every way imaginable have collectively pushed this document into existence. My gratitude for all of this support for everyone who helped cannot adequately be expressed in writing. 8 TABLE OF CONTENTS Page Abstract............................................................................................................................... 4 Dedication........................................................................................................................... 6 Acknowledgments............................................................................................................... 7 List of Figures................................................................................................................... 10 List of DVD Images.......................................................................................................... 14 Chapter 1: Introduction..................................................................................................... 15 History of Loïe Fuller ........................................................................................... 18 Fuller Scholarship ..................................................................................... 60 Chapter 2: Loïe Fuller in Historical Context .................................................................... 65 Fuller’s Choreographic Contemporaries............................................................... 98 Isadora Duncan ......................................................................................... 98 Mikhail Fokine........................................................................................ 103 Vaslav Nijinsky....................................................................................... 108 Ruth St. Denis ......................................................................................... 115 Chapter 3: Synaesthetic Methodologies.......................................................................... 119 Synaesthesia and Color Hearing ......................................................................... 124 Fuller and Synaesthesia....................................................................................... 139 Chapter 4: Symbolist Methodologies.............................................................................. 145 Symbolist Choreography .................................................................................... 157 Chapter 5: Analysis of Fuller’s Work............................................................................. 160 9 Analysis of Serpentine and Fire Dances............................................................. 175 Conclusion ...................................................................................................................... 206 References....................................................................................................................... 221 Appendix A: Chronology of the Choreography of Loïe Fuller ...................................... 234 Appendix B: A List of Artists and Their Representations of Loïe Fuller....................... 239 10 LIST OF FIGURES Page Figure 1: Photograph, Serpentine Dance, Edison Art Company ....................................22 Figure 2: Loïe Fuller, Otto Sarony..................................................................................23 Figure 3: Andrea Mantegna, Saint Sebastian .................................................................27 Figure 4: Loïe Fuller, 1893, Photograph.........................................................................35 Figure 5: Loïe Fuller, 1893, Photograph, Reutlinger......................................................36 Figure 6: Loïe Fuller in costume for “Dance of the Serpents” .......................................37 Figure 7: Loïe Fuller, Photograph...................................................................................38 Figure 8: U.S. Patent Drawing No. 518, 347; April 17, 1894 ........................................39 Figure 9: Loïe Fuller, Lily...............................................................................................40 Figure 10: Fire Dance or The Dance of Flame...............................................................41 Figure 11: Loïe Fuller in Fire Dance .............................................................................42 Figure 12: Loïe Fuller as Salomé....................................................................................45 Figure 13: Loïe Fuller as Salomé....................................................................................46 Figure 14: Gustave Moreau, Salome Dancing before Herod .........................................47 Figure 15: The Loïe Fuller Théâtre, Paris Exposition Universelle.................................52 Figure 16: Théâtre Loïe Fuller, Henri Sauvage ..............................................................53 Figure 17: Pierre Roche, Loïe Fuller, Drame.................................................................54 Figure 18: Pierre Roche, Loïe Fuller, Comedie..............................................................55 Figure 19: Pierre Roche, Loïe Fuller: Fire Dance .........................................................66 Figure 20: Pierre Roche, Loïe Fuller ..............................................................................67 11 Figure 21: Edouard Houssin, Loïe Fuller .......................................................................69 Figure 22: François Carabin, Loïe Fuller .......................................................................70 Figure 23: François Carabin,