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.
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.
Mary Simonson is Lecturer in Womens Studies and Film & Media Studies at Colgate University.
Inhaltsangabe
* 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
* 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
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