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{{Short description|American dancer (1862–1928)}}{{For|the film|Loie Fuller (film)}}{{Use mdy dates|date=September 2021}}

factoids

| birth_place = Hinsdale, Illinois, U.S.19280101|15}}| death_place = Paris, France| resting_place = Père Lachaise Cemetery, Paris, France| other_names = Louie Fuller| occupation = Dancer| years_active = | known_for = | notable_works = | partner = Gab Sorère (1898–1928)}}Loie Fuller ({{IPAc-en|ˈ|l|oʊ|i}};WEB,www.loc.gov/nls/about/organization/standards-guidelines/efgh/#f, Say How: F, National Library Service for the Blind and Print Disabled, February 3, 2023, October 6, 2019,web.archive.org/web/20191006214945/https://www.loc.gov/nls/about/organization/standards-guidelines/efgh/#f, live, born Marie Louise Fuller; January 15, 1862 – January 1, 1928), also known as Louie Fuller and Loïe Fuller, was an American dancer and a pioneer of modern dance and theatrical lighting techniques.

Early life and debut

Marie Louise Fuller was born on January 15, 1862, in Fullersburg, Illinois, on a remote farm conveniently linked to Chicago by a newly-constructed plank road. When Fuller was two, her parents Reuben Fuller and Delilah Eaton moved to Chicago and opened a boarding house. Fuller’s parents took her to the Progressive Lyceum, a hub of Freethought, on Sunday mornings.Fuller debuted on the stage as a toddler, performing a variety of dramatic and dance roles in Chicago. Her dramatic debut at the age of four was at the Chicago Academy of Music, playing a young boy in Was He Right?.{{Sfn|Garelick|2009|p=23}} Fuller’s career as a child perfomer progressed with little formal training and much variety, as she experimented with dramatic reading, singing, and dance.{{Sfn|Sommer|1975|p=55}} As a child, Fuller’s family moved in and out of Chicago, with Fuller eventually securing a part in Buffalo Bill’s touring act at the age of nineteen.Marie Louise Fuller changed her name to the more glamorous “Loïe” at the age of sixteen.NEWS, June 13, 1878, West End Opera House Grand Complimentary Benefit,archive.org/details/per_chicago-daily-tribune_the-chicago-daily-tribun_1878-06-13_39/page/n6/mode/1up?q=%22Lola+Fuller%22, The Chicago Tribune, An early free dance practitioner, Fuller developed her own natural movement and improvisation techniques. In multiple shows she experimented with a long skirt, choreographing its movements and playing with the ways it could reflect light.{{Citation needed|date=August 2023}}

Career

By 1891, Fuller combined her choreography with silk costumes illuminated by multi-coloured lighting of her own design, and created the Serpentine Dance.NEWS,www.britannica.com/biography/Loie-Fuller, Loie Fuller {{!, American dancer|work=Encyclopædia Britannica|access-date=October 4, 2017|language=en|archive-date=August 3, 2020|archive-url=https://web.archive.org/web/20200803104905www.britannica.com/biography/Loie-Fuller|url-status=live}} After much difficulty finding someone willing to produce her work when she was primarily known as an actress, she was finally hired to perform her piece between acts of a comedy entitled Uncle Celestine, and received rave reviews.BOOK, The International Encyclopedia of Dance, Cohen, Selma, Selma Jeanne, Cohen, Oxford University Press, 1998, 9780195173697, Fuller, Loie, 10.1093/acref/9780195173697.001.0001, registration,archive.org/details/internationalenc0000unse_q4s8, {{blockquote|“Soon, she (Loïe Fuller) auditioned for Rudolph Aronson of New York’s Casino Theatre. He named her dance “The Serpentine” and hired her to perform it as an entr’act in the comedy Uncle Celestin. Fuller achieved critical success with her Serpentine performances at the Casino and—when a dispute with Aronson forced her to switch venues—at the Madison Square Theatre. However, Fuller’s artistic achievements were soon dwarfed by legal troubles (among them, a copyright infringement suit against Minnie Renwood, the dancer Aronson hired to replace Fuller...“WEB,www.timelapsedance.com/loie-fuller-essay, Loie Fuller Biographical Essay, }} Almost immediately, she was replaced by imitators (originally Minnie “Renwood” Bemis). In the hope of receiving serious artistic recognition that she was not getting in America, Fuller left for Europe in June 1892. She became one of the first of many American modern dancers who traveled to Europe to seek recognition. Her warm reception in Paris persuaded Fuller to remain in France, where she became one of the leading revolutionaries in the arts.{{Sfn|Sommer|1975|p=55}}A regular performer at the Folies Bergère with works such as Fire Dance, Fuller became the embodiment of the Art Nouveau movement and was often identified with symbolism, as her work was seen as the perfect reciprocity between idea and symbol.BOOK, Current, Richard Nelson, Loie Fuller, goddess of light, Current, Marcia Ewing, 1997, Northeastern University Press, 978-1-55553-309-0, Boston, From “Louie” to “Loie”,archive.nytimes.com/www.nytimes.com/books/first/c/current-loie.html, The New York Times, Fuller began adapting and expanding her costume and lighting, so that they became the principal element in her performance—perhaps even more important than the actual choreography, especially as the length of the skirt was increased and became the central focus, while the body became mostly hidden within the depths of the fabric.{{Sfn|Sommer|1975|p=58-59}} The choreography of the Serpentine Dance was filmed by multiple early filmmakers, including Auguste and Louis Lumière, but it is unclear whether the recordings depict Fuller herself.NEWS, Dillon, Brian, 2014-09-30, Serpentine Dancer: The life and legacy of the wildly inventive choreographer and performer Loie Fuller, Frieze (magazine), Frieze,www.frieze.com/article/serpentine-dancer, 2023-08-31, “’Serpentine Dance’ by the Lumière brothers” {{Webarchive|url=https://web.archive.org/web/20140617111510www.youtube.com/watch?v=iCJ7glJLRyE |date=June 17, 2014 }}. YouTube Gab Sorère and Fuller would make three films together, Le Lys de la vie (The Lily of Life, 1921), Visions des rêves (Visions of dreams, 1924) and Les Incertitudes de Coppélius (Uncertainties of Coppelius, 1927).{{sfn|Garelick|2009|p=56}} Le Lys de la vie was a silent film, based upon a story written by Queen Marie of Romania, a close friend of the couple{{sfn|Garelick|2009|pp=57-58}} and is the only one of the films which survived.{{sfn|Garelick|2009|p=56}}“The only surviving reel of her work is a segment from Le Lys de la Vie, and features a show within a show with classically-costumed figures dancing by the sea, a banquet, royal intrigue, and romance with René Clair featured as a prince on horseback.WEB,www.sensesofcinema.com/2003/feature-articles/la_loie/, “La Loïe” as Pre-Cinematic Performance – Descriptive Continuity of Movement – Senses of Cinema, March 13, 2011, WEB,idnc.library.illinois.edu/?a=d&d=STR19210108.2.41, True Republican 8 January 1921 — Illinois Digital Newspaper Collections, BOOK, Coleman, Bud, The Electric Fairy: The Woman Behind the Apparition of Loie Fuller, 311–337, Marra, Kim, Schanke, Robert, Staging Desire: Queer Readings of American Theater History, 2002, University of Michigan Press, 978-0-472-90416-7, JOURNAL, Christout, Marie-Françoise, Palfy, Barbara, The Dancing Muse of the Belle Époque, Dance Chronicle, 1996, 19, 2, 213–216, 10.1080/01472529608569242, 1567904, WEB,sfbaytimes.com/camille-saint-saens-and-la-loie-fuller-at-the-panama-pacific-international-exposition/, Camille Saint-Saëns and La Loïe Fuller at the Panama-Pacific International Exposition, San Francisco Bay Times, “According to Celia McGerr’s biography of René Clair, in 1920, singer Damia “persuaded a reluctant Clair to play the role of a suave Parisian in Loie Fuller’s poetic film on danceLe lys de la vie, by telling him about the pretty girls who would be present.“WEB,silentfilm.org/the-italian-straw-hat-2/, The Italian Straw Hat, Fuller’s pioneering work attracted the attention, respect, and friendship of many French artists and scientists, including Jules Chéret, Henri de Toulouse-Lautrec, François-Raoul Larche, Henri-Pierre Roché, Auguste Rodin, Jean-Léon Gérôme, Franz von Stuck, Maurice Denis, Thomas Theodor Heine, Paul-Léon Jazet, Koloman Moser, Demétre Chiparus, Stéphane Mallarmé, and Marie Curie. Fuller was also a member of the Société astronomique de France (French Astronomical Society).BOOK,books.google.com/books?id=1gY3AQAAMAAJ&dq=%22lo%C3%AFe+fuller%22&pg=PA183, Bulletin de la Société Astronomique de France, 1895, fr, BOOK, France, Société astronomique de,books.google.com/books?id=oXwiAQAAIAAJ&dq=%22lo%C3%AFe+fuller%22&pg=PA183, Bulletin de la Société astronomique de France et revue mensuelle d’astronomie, de météorologie et de physique du globe, 1895, La Société, fr, Fuller patented many of her innovations in stage lighting, including the use of chemical compounds for creating color gel, and the application of chemical salts to luminescent lighting and garments.Fuller also sought legal protection for her choreography, but was less successful. Her lawsuit against imitator Minnie Renwood Bemis was decided in Bemis’ favor, allowing Bemis’ performances at Madison Square Garden to continue. The judge in the case ruled that Fuller’s original choreography told no story and therefore could not be copyrighted.NEWS, 1892-06-19, Dancing and Copyright: Judge Lacombe Decides Against Loie Fuller’s Skirt Dance, 20, The New York Times,timesmachine.nytimes.com/timesmachine/1892/06/19/issue.html, subscription, “Copyright – ‘Dramatic Composition’ – Stage Dance (Fuller v. Bemis) Albany Law Journal, Aug. 27, 1892, p. 165-66. The precedent set by Fuller’s case remained in place until the passage of the Copyright Act of 1976, which explicitly extended protection to nondramatic choreographic works.BOOK, Kraut, Anthea, Choreographing copyright: race, gender, and intellectual property rights in American dance, 2016, Oxford University Press, 978-0-19-936036-9, White Womanhood and Early Campaigns for Choreographic Copyright, WEB, Hall, Alison, 2017-08-16, 65th Anniversary of the First Copyrighted Choreography—Although Not Copyrighted As Choreography, urlblogs.loc.gov/copyright/2017/08/copyrightchoreography, 2023-08-31, Copyright: Creativity at Work, Library of Congress, Another notorious imitator was Lord Yarmouth, later 7th Marquess of Hertford, who performed the Serpentine Dance under the stage name of ‘Mademoiselle Roze’.Peter Jordaan, A Secret Between Gentlemen: Lord Battersea’s hidden scandal and the lives it changed forever, Alchemie Books, Sydney 2022, ISBN 978-0-6456178-0-1, pp104-106.WEB, Rogers, Destiny, 2022-07-17, On this day: The twirling Earl of Yarmouth in Mackay, https:qnews.com.au/on-this-day-the-twirling-earl-of-yarmouth-in-mackay/, 2023-08-31, QNews, Fuller supported other pioneering performers, such as Sada YaccoNEWS, 1908-11-15, Miss Loie Fuller as a Translator,archive.org/details/per_st-louis-post-dispatch_1908-11-15_61_87/page/n32/mode/1up?q=%22loie+fuller%22+%22sada+yacco%22, St. Louis Post-Dispatch, BOOK,archive.org/details/gri_33125009332426/page/n3/mode/2up?q=%22loie+fuller%22+%22sada+yacco%22, Le Panorama: Exposition universelle, Ludovic Baschet, 1900, France, FR, BOOK, Duncan, Isadora,archive.org/details/mylife0000unse_a0f0/page/n5/mode/2up, My Life, 1927, Boni and Liverlight, United States, 94–96, EN, Chapter Ten, and fellow United States-born dancer Isadora Duncan. Fuller helped Duncan ignite her European career in 1902 by sponsoring independent concerts in Vienna and Budapest.BOOK, Au, Susan, Ballet and Modern Dance, Thames and Hudson, 2002, 9780500203521, New York, 90, Loie Fuller’s original stage name was “Louie”. In modern French “L’ouïe” is the word for a sense of hearing. When Fuller reached Paris she gained a nickname which was a pun on “Louie“/“L’ouïe”. She was renamed “Loïe” - this nickname is a corruption of the early or Medieval French “L’oïe”, a precursor to “L’ouïe”, which means “receptiveness” or “understanding”. She was also referred to by the nickname “Lo Lo Fuller”.{{citation needed|date=January 2021}}File:Loie Fuller (1902).ogv|thumb|left|A dancer, possibly Fuller, performing Fuller’s serpentine dance in a 1902 film ]]

Personal life

Fuller met her romantic partner of over 30 years, Gab Sorère, in the mid-1890s. Sorère was born Gabrielle Bloch, the daughter of wealthy French bankers, in 1870, and eventually took the name Gab Sorère in 1920. Bloch first saw Fuller perform at the age of 14, and by 1898 Fuller and Bloch were living together.{{Sfn|Coleman|2005|p=173}}Fuller and Bloch’s relationship initially attracted some attention in the press, as Bloch dressed exclusively in menswear, and was 8 years Fuller’s junior. The press coverage of their relationship declined over time, focusing more on Fuller’s mother, and allowing Bloch and Fuller to live a relatively unbothered life.{{Sfn|Garelick|2009|p=4}}Fuller met Crown Princess Marie of Romania, later to become Queen Marie, in 1902, at a performance in Bucharest. Marie and Fuller became close, and maintained an extensive correspondence as close friends. Their relationship was the subject of scandalous rumors,JOURNAL, de Morinni, Clare, 1942, Loie Fuller: The Fairy of Light,archive.org/details/danceindexunse_1, Dance Index, 1, 3, 40–52, alleging that Fuller and Queen Marie were lovers.{{Sfn|Garelick|2009|p=65}} Fuller, through a connection at the United States embassy in Paris, played a role in arranging a United States loan for Romania during World War I.{{Citation needed|date=August 2023}}Later, during the period when the future Carol II of Romania was alienated from the Romanian royal family and living in Paris with his mistress Magda Lupescu, she befriended them; they were unaware of her connection to Carol’s mother Marie. Fuller initially advocated to Marie on behalf of the couple, but later schemed unsuccessfully with Marie to separate Carol from Lupescu.BOOK, Easterman, Alexander Levvey, King Carol, Hitler and Lupescu, 1942, V. Gollancz Ltd., London, 28–32;58–61, 4769487, With Queen Marie and American businessman Samuel Hill, Fuller helped found the Maryhill Museum of Art in rural Washington state, which has permanent exhibits about her career.WEB, December 31, 2012, About Maryhill Museum of Art’s Permanent Collection,www.maryhillmuseum.org/inside/collections, live,web.archive.org/web/20230115222415/https://www.maryhillmuseum.org/inside/collections, January 15, 2023, 2023-01-15, Maryhill Museum of Art, en-US,

Later life and death

Fuller occasionally returned to America to stage performances by her students, the “Fullerets” or Muses, but spent the end of her life in Paris. She died of pneumonia at the age of 65 on January 1, 1928, in Paris, two weeks shy of her 66th birthday. She was cremated and buried in the columbarium of the Père-Lachaise cemetery (site No. 5382) in Paris.NEWS,bertrandbeyern.fr/les-grands-noms-de-la-danse/, Les grands noms de la danse !, bertrandbeyern.fr, April 2, 2022, fr, May 18, 2022,web.archive.org/web/20220518115723/https://bertrandbeyern.fr/les-grands-noms-de-la-danse/, live,

Legacy

After Fuller’s death, her romantic partner of thirty years, Gab Sorère inherited the dance troupe as well as the laboratory Fuller had operated.NEWS, Loie Fuller’s Work in Life Will Be Carried on by Intimate Friend,www.newspapers.com/clip/21036261/the_evening_news/, June 17, 2018, The Evening News, January 28, 1928, Wilkes-Barre, Pennsylvania, 4, Newspapers.com, June 17, 2018,web.archive.org/web/20180617220008/https://www.newspapers.com/clip/21036261/the_evening_news/, live, {{open access}}{{Sfn|Coleman|2005|p=173}} Sorère took legal action against dancers who wrongfully used Fuller’s fame to enhance their own careersNEWS, Imprisoned Dancer Released,www.newspapers.com/clip/21038333/imprisoned_dancer_released_the/, June 17, 2018, The Manchester Guardian, September 19, 1929, London, England, 12, Newspapers.com, June 18, 2018,web.archive.org/web/20180618002530/https://www.newspapers.com/clip/21038333/imprisoned_dancer_released_the/, live, {{open access}}BOOK,archive.org/details/per_chicago-daily-tribune_1929-09-13_88_220, Chicago Daily Tribune 1929-09-13: Vol 88 Iss 220, 1929-09-13, English, BOOK, Variety,archive.org/details/variety96-1929-09, Variety (September 1929), 1929, New York, NY: Variety Publishing Company, Media History Digital Library Media History Digital Library, NEWS, September 13, 1929, Dancer Goes to Holloway Prison, 18, The Glasgow Herald,books.google.com/books?id=Hfs9AAAAIBAJ&dq=%22Gabrielle+bloch%22&pg=PA18&article_id=3454,6151875, and produced both films and theatrical productions to honor Fuller’s legacy as a visual effects artist.BOOK, Albright, Ann Cooper, Rosenberg, Douglas, The Oxford Handbook of Screendance Studies,books.google.com/books?id=1e0mDAAAQBAJ&pg=PA721, 2016, Oxford University Press, Oxford, England, 978-0-19-998160-1, Resurrecting the Future: Body, Image, and Technology in the Work of Loïe Fuller, 715–730, June 17, 2018, February 10, 2023,web.archive.org/web/20230210103228/https://books.google.com/books?id=1e0mDAAAQBAJ&pg=PA721, live, Fuller’s work has been experiencing a resurgence of professional and public interest. Rhonda K. Garelick’s 2009 study entitled Electric Salome demonstrates her centrality not only to dance, but also modernist performance.{{Sfn|Garelick|2009}} Sally R. Sommer has written extensively about Fuller’s life and timesSally R. Sommer, “La Loie: The Life and Art of Loie Fuller”, Penguin Publishing Group, 1986, {{ISBN|9780399129018}}. Marcia and Richard Current published a biography entitled Loie Fuller, Goddess of Light in 1997.BOOK, Current, Richard Nelson, Loie Fuller, goddess of light, Current, Marcia Ewing, 1997, Northeastern University Press, 978-1-55553-309-0, Boston, The philosopher Jacques Rancière devoted a chapter of Aisthesis, his history of modern aesthetics, to Fuller’s 1893 performances in Paris, which he considers emblematic of Art Nouveau in their attempt to link artistic and technological invention.Jacques Rancière, Aisthesis: Scenes from the Aesthetic Regime of Art, trans. Zakir Paul, Verso, 2013, 93–109. Giovanni Lista compiled a 680-page book of Fuller-inspired art work and texts in Loïe Fuller, Danseuse de la Belle Epoque in 1994.BOOK, Lista, Giovanni, Loïe Fuller, danseuse de la Belle Époque, 2006, Hermann, 978-2-7056-6625-5, 2nd, Hermann Danse, Paris, In the 1980s, Munich dancer Brygida Ochaim{{Citation|title=Loïe Fuller – la danse des couleurs|date=April 5, 2018|url=https://www.numeridanse.tv/en/dance-videotheque/loie-fuller-la-danse-des-couleurs-0|language=en|access-date=August 29, 2020|archive-date=September 22, 2020|archive-url=https://web.archive.org/web/20200922215057www.numeridanse.tv/en/dance-videotheque/loie-fuller-la-danse-des-couleurs-0|url-status=live}} revived Fuller’s dances and techniques, also appearing in the Claude Chabrol film The Swindler.In 2016, Stéphanie Di Giusto directed the movie The Dancer about the life of Loïe Fuller, with actresses Soko as Loïe and Lily-Rose Depp as Isadora Duncan. Jody Sperling choreographed Soko’s dances for the movie, served as creative consultant and was Soko’s dance coach, training her in Fuller technique.WEB, Rizzuto, Rachel, 31 January 2017, Jody Sperling Brings the Magic of Loie Fuller to La Danseuse,dance-teacher.com/face-face-jody-sperling/, DanceTeacher, February 10, 2023, December 7, 2022,web.archive.org/web/20221207165051/https://dance-teacher.com/face-face-jody-sperling/, live, The movie premiered at the 2016 Cannes Film Festival.WEB,www.telerama.fr/festival-de-cannes/2016/cannes-2016-la-danseuse-l-evidence-complementaire-de-lily-rose-depp-et-soko,142405.php, Lily-Rose Depp et Soko, comme une évidence dans “La Danseuse”, Télérama, May 14, 2016, May 15, 2016, May 15, 2016,www.telerama.fr/festival-de-cannes/2016/cannes-2016-la-danseuse-l-evidence-complementaire-de-lily-rose-depp-et-soko,142405.php," title="web.archive.org/web/20160515103538www.telerama.fr/festival-de-cannes/2016/cannes-2016-la-danseuse-l-evidence-complementaire-de-lily-rose-depp-et-soko,142405.php,">web.archive.org/web/20160515103538www.telerama.fr/festival-de-cannes/2016/cannes-2016-la-danseuse-l-evidence-complementaire-de-lily-rose-depp-et-soko,142405.php, live, Fuller continues to be an influence on contemporary choreographers. Sperling, who re-imagines Fuller’s genre from a contemporary perspective, has choreographed dozens of works inspired by Fuller and expanded Fuller’s vocabulary and technique into the 21st century. Sperling’s company Time Lapse Dance consists of six dancers all versed in Fuller-style technique and performance. Another is Ann Cooper Albright, who collaborated with a lighting designer on a series of works that drew inspiration from Fuller’s original lighting design patents.lo.wesleyan.edu/wespress/traces/dances.html" title="web.archive.org/web/20160105204758lo.wesleyan.edu/wespress/traces/dances.html">“Dancing with Light”. Loie Fuller. Shela Xoregos choreographed a tribute, La Loȉe, a solo which shows several of Fuller’s special effects.{{citation needed|date=January 2021}}Taylor Swift’s 2018 Reputation Tour featured a segment dedicated to Fuller. During her performance of “Dress” each night on the tour, several dancers recreated the “Serpentine Dance.“WEB, Bate, Ellie, 13 Seriously Impressive Facts You Probably Didn’t Know About Taylor Swift’s Reputation Tour,www.buzzfeed.com/eleanorbate/taylor-swift-reputation-tour-facts, BuzzFeed, October 7, 2018, en, June 19, 2018, October 2, 2018,web.archive.org/web/20181002052003/https://www.buzzfeed.com/eleanorbate/taylor-swift-reputation-tour-facts, live, WEB, Borrelli-Persson, Laird, August 8, 2019, Vogue Visited Taylor Swift’s Muse, Loie Fuller, at Home in 1913,www.vogue.com/article/1913-vogue-interview-with-dancer-loie-fuller-taylor-swift-muse, March 18, 2023, Vogue, en-US, In the reputation Stadium Tour concert film on Netflix, after “Dress” there is a message showing Taylor’s dedication to Fuller.WEB, December 31, 2018, 9 Things You Might Have Missed in Taylor Swift’s Netflix Concert Film,www.eonline.com/news/1000340/9-things-you-might-have-missed-in-taylor-swift-s-netflix-concert-film, March 18, 2023, E! Online, After performing “Dress,” a dedication to the late actress and dancer Loie Fuller, who passed away in 1928, appeared on the screen., Into the 2019 film Radioactive Loie Fuller (Drew Jacoby) is a friend of the main character Marie Curie.The scientist envisions Fuller dancing in the green light of radium.NEWS, Dargis, Manohla, 23 July 2020, ‘Radioactive’ Review: Marie Curie and the Science of Autonomy, en, The New York Times,www.nytimes.com/2020/07/23/movies/radioactive-review.html, live, 1 April 2022,web.archive.org/web/20220401231545/https://www.nytimes.com/2020/07/23/movies/radioactive-review.html, April 1, 2022, The dancer also introduces the Curies to a medium.

Written works

Fuller’s autobiographical memoir Quinze ans de ma vie was written in English, translated into French by Bojidar Karageorgevitch and published by F. Juven (Paris) in 1908 with an introduction by Anatole France.{{Sfn|Fuller|1908}} She drafted her memoirs again in English a few years later, which were published under the title Fifteen Years of a Dancer’s Life by H. Jenkins (London) in 1913.{{Sfn|Fuller|1913}} The New York Public Library Jerome Robbins Dance Collection holds the nearly complete manuscript to the English edition and materials related to the French edition.WEB, “Fifteen years of my life”,digitalcollections.nypl.org/items/318a5010-338d-0131-5dda-58d385a7b928, 2023-12-20, NYPL Digital Collections, en, WEB, “Fifteen years of my life”,digitalcollections.nypl.org/items/3a4f5a90-338d-0131-868e-58d385a7b928, 2023-12-20, NYPL Digital Collections, en, WEB, Chapter 20 (with a section which eventually became chapter 3),digitalcollections.nypl.org/items/b9f0d1d0-3060-0131-03c5-58d385a7bbd0, 2023-12-20, NYPL Digital Collections, en, Fuller’s autobiography is a first hand account, and she was known for being very adaptive in her story telling. There are seven highly dramatized versions of how she got her first silk skirt; however, the real story is unknown. As well as writing about inventing the Serpentine Dance, she also wrote extensively about her own theories of modern dance and motion.{{Sfn|Sommer|1975|p=56}}

See also

• List of dancers
• Women in dance

Works

• BOOK, Fuller, Loie,archive.org/details/quinzeansdemavie00fulluoft, Quinze ans de ma vie, 1908, F. Juven, Paris, Karageorgevitch, Bojidar, Fifteen years of my life,
• BOOK, Fuller, Loie,archive.org/details/fifteenyearsofda00fullrich/, Fifteen years of a dancer’s life, with some account of her distinguished friends, 1913, H. Jenkins, London, 1,

References

{{reflist}}

Sources

• BOOK, Coleman, Bud, Harbin, Billy J., Marra, Kim, Schanke, Robert A., The Gay & Lesbian Theatrical Legacy: A Biographical Dictionary of Major Figures in American Stage History in the Pre-Stonewall Era, 2005, University of Michigan Press, Ann Arbor, 978-0-472-06858-6, 171–175, 1,babel.hathitrust.org/cgi/pt?id=mdp.39015060576009&seq=183, Fuller, Loie,
• BOOK, Garelick, Rhonda K., Electric Salome: Loie Fuller’s Performance of Modernism, 2009, Princeton University Press, 978-1-4008-3277-4, Princeton, NJ,
• JOURNAL, Sommer, Sally R., Loïe Fuller, The Drama Review, March 1975, 19, 1, 53–67, 10.2307/1144969, 1144969,
• THESIS, Brannigan, Erin, A cinema of movement : dance and the moving image, 2004, UNSW Sydney, 10.26190/unsworks/4115, 1959.4/54357,
• WEB,www.culture.fr/Moteur-Collections/Thematiques/Spectacles/Loie-Fuller-une-danseuse-avant-gardiste,web.archive.org/web/20230605075526/https://www.culture.fr/Moteur-Collections/Thematiques/Spectacles/Loie-Fuller-une-danseuse-avant-gardiste, June 5, 2023, Loïe Fuller, une danseuse avant-gardiste &124; Moteur Collections &124; Culture,
• WEB,www.culture.gouv.fr/en/Thematiques/Musees/Les-musees-en-France/Les-collections-des-musees-de-France/Decouvrir-les-collections/Les-femmes-artistes-sortent-de-leur-reserve/Icones/Fuller-Loie, Fuller Loïe,
• JOURNAL, Kraut, Anthea, White Womanhood, Property Rights, and the Campaign for Choreographic Copyright: Loïe Fuller’s Serpentine Dance, Dance Research Journal, 12 May 2011, 43, 1, 03–26, 10.5406/danceresearchj.43.1.0003, 155144098,
• WEB,data.bnf.fr/16460042/le_lys_de_la_vie___film/, Le Lys de la vie (Film), January 13, 2024,
• WEB,www.senscritique.com/film/le_lys_de_la_vie/434377, Le lys de la vie - Court-métrage (1921),
• BOOK, 10.5622/illinois/9780252042461.003.0006, Looking Backward, Queer Timing, 2019, Potter, Susan, 101–121, 9780252042461, 212890327,
• WEB,www.allocine.fr/film/fichefilm_gen_cfilm=5215.html, Le Lys de la vie,
• THESIS, Fee, Anna, Gender, Class and Cinephilia: Parisian Cinema Cultures, 1918-1925, 2015, 1773/33684,
• WEB,www.centrepompidou.fr/en/magazine/article/loie-fuller-pionniere-de-labstraction-dansee, Loïe Fuller, pionnière de l’abstraction dansée, May 6, 2021,
• WEB,www.thefrenchmag.com/Alix-de-Morant_a1156.html, Alix de Morant,

External links

{{Commons category}}{{NIE Poster|year=1906|Fuller, Loie|Loie Fuller}}

• Loie Fuller archival collections at the New York Public Library for the Performing Arts:
  • Loie Fuller papers, 1892–1913
  • Loie Fuller notebooks and letters, 1907-1911
  • Loie Fuller collection, 1914–1928
• United States patents for inventions by Fuller, via Google Patents:
  • US Patent 513102: Mechanism for the Production of Stage Effects
  • US Patent 518347: Garment for Dancers
  • US Patent 533167: Theatrical Stage Mechanism

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