LEADER 04014nam 22004811 450 001 9910787654103321 005 20200520144314.0 010 $a0-19-989802-2 035 $a(CKB)2670000000427021 035 $a(StDuBDS)AH25563556 035 $a(MiAaPQ)EBC3055610 035 $a(Au-PeEL)EBL3055610 035 $a(CaPaEBR)ebr10767032 035 $a(CaONFJC)MIL519224 035 $a(OCoLC)858861335 035 $a(EXLCZ)992670000000427021 100 $a20130207d2013 uy 0 101 0 $aeng 135 $aur||||||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aBody knowledge $eperformance, intermediality, and American entertainment at the turn of the twentieth century /$fMary Simonson 210 1$aOxford ;$aNew York :$cOxford University Press,$d2013. 215 $a1 online resource (304 p. ) $c8 music examples and 21 photographs 311 $a0-19-989803-0 320 $aIncludes bibliographical references and index. 330 8 $aThis book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.$bIn 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 andonscreen, 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 advertisingtechniques, 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 Genee 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 variousmedia, 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, theevolution 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. 606 $aIntermediality 606 $aRevues$zUnited States$y20th century$xHistory and criticism 606 $aWomen dancers$zUnited States$xHistory$y20th century 615 0$aIntermediality. 615 0$aRevues$xHistory and criticism. 615 0$aWomen dancers$xHistory 676 $a792.7082/0973 700 $aSimonson$b Mary$01554138 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910787654103321 996 $aBody knowledge$93815187 997 $aUNINA