Loie Fuller
The United States dancer Loie Fuller (1862–1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists.
Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects.
Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became “La Loie,” the darling of Parisian audiences. Many of her dances represented elements or natural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art’s sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content.
Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller’s major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner’s “Ride of the Valkyries.” The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph.
As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films—then in an early stage of development—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director.
At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress . She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan’s first appearance in Europe. Her theater at the Paris Exposition was visited by St.
Paragraph 1: The United States dancer Loie Fuller (1862–1928) found theatrical dance in the late nineteenth century artistically unfulfilling. She considered herself an artist rather than a mere entertainer, and she, in turn, attracted the notice of other artists.
1. What can be inferred from paragraph 1 about theatrical dance in the late nineteenth century?
○It influenced many artists outside of the field of dance.
○It was very similar to theatrical dance of the early nineteenth century.
○It was more a form of entertainment than a form of serious art.
○It was a relatively new art form in the United States.
Paragraph 2: Fuller devised a type of dance that focused on the shifting play of lights and colors on the voluminous skirts or draperies she wore, which she kept in constant motion principally through movements of her arms, sometimes extended with wands concealed under her costumes. She rejected the technical virtuosity of movement in ballet, the most prestigious form of theatrical dance at that time, perhaps because her formal dance training was minimal. Although her early theatrical career had included stints as an actress, she was not primarily interested in storytelling or expressing emotions through dance; the drama of her dancing emanated from her visual effects.
2. According to paragraph 2, all of the following are characteristic of Fuller’s type of dance EXCEPT
○experimentation using color
○large and full costumes
○continuous movement of her costumes
○ technical virtuosity of movement
3. The word “prestigious” in the passage is closest in meaning to
○ highly regarded
○ financially rewarding
○ demanding
○ serious
4. Which of the sentences below best expresses the essential information in the highlighted sentence in the passage? Incorrect choices change the meaning in important ways or leave out essential information.
○Fuller was more interested in dance’s visual impact than in its narrative or emotional possibilities.
○Fuller used visual effects to dramatize the stories and emotions expressed in her work.
○Fuller believed that the drama of her dancing sprang from her emotional style of storytelling.
○Fuller’s focus on the visual effects of dance resulted from her early theatrical training as an actress.
Paragraph 3: Although she discovered and introduced her art in the United States, she achieved her greatest glory in Paris, where she was engaged by the Folies Bergère in 1892 and soon became “La Loie,” the darling of Parisian audiences. Many of her dances represented elements or natural objects—Fire, the Lily, the Butterfly, and so on—and thus accorded well with the fashionable Art Nouveau style, which emphasized nature imagery and fluid, sinuous lines. Her dancing also attracted the attention of French poets and painters of the period, for it appealed to their liking for mystery, their belief in art for art’s sake, a nineteenth-century idea that art is valuable in itself rather than because it may have some moral or educational benefit, and their efforts to synthesize form and content.
5. The word “engaged” in the passage is closest in meaning to
○ noticed
○ praised
○ hired
○ attracted
6. The word “synthesize” in the passage is closest in meaning to
○ improve
○ define
○ simplify
○ integrate
7. According to paragraph 3, why was Fuller’s work well received in Paris?
○Parisian audiences were particularly interested in artists and artistic movements from the United States.
○Influential poets tried to interest dancers in Fuller’s work when she arrived in Paris.
○Fuller’s work at this time borrowed directly from French artists working in other media.
○Fuller’s dances were in harmony with the artistic values already present in Paris.
Paragraph 4: Fuller had scientific leanings and constantly experimented with electrical lighting (which was then in its infancy), colored gels, slide projections, and other aspects of stage technology. She invented and patented special arrangements of mirrors and concocted chemical dyes for her draperies. Her interest in color and light paralleled the research of several artists of the period, notably the painter Seurat, famed for his Pointillist technique of creating a sense of shapes and light on canvas by applying extremely small dots of color rather than by painting lines. One of Fuller’s major inventions was underlighting, in which she stood on a pane of frosted glass illuminated from underneath. This was particularly effective in her Fire Dance (1895), performed to the music of Richard Wagner’s “Ride of the Valkyries.” The dance caught the eye of artist Henri de Toulouse-Lautrec, who depicted it in a lithograph.
8. According to paragraph 4, Fuller’s Fire Dance was notable in part for its
○ use of colored gels to illuminate glass
○ use of dyes and paints to create an image of fire
○ technique of lighting the dancer from beneath
○ draperies with small dots resembling the Pointillist technique of Seurat
Paragraph 5: As her technological expertise grew more sophisticated, so did the other aspects of her dances. Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. She both appeared in films—then in an early stage of development—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director.
9. Why does the author mention Fuller’s The Sea?
○ To point out a dance of Fuller’s in which music did not play an important role
○ To explain why Fuller sometimes used music by progressive composers
○ To illustrate a particular way in which Fuller developed as an artist
○ To illustrate how Fuller’s interest in science was reflected in her work
10. The word “agitated” in the passage is closest in meaning to
○ emerged from beneath
○ created movement in
○ arranged themselves in
○ pretended to be
Paragraph 6: At the Paris Exposition in 1900, she had her own theater, where, in addition to her own dances, she presented pantomimes by the Japanese actress Sada Yocco. She assembled an all-female company at this time and established a school around 1908, but neither survived her. Although she is remembered today chiefly for her innovations in stage lighting, her activities also touched Isadora Duncan and Ruth St. Denis, two other United States dancers who were experimenting with new types of dance. She sponsored Duncan’s first appearance in Europe. Her theater at the Paris Exposition was visited by St. Denis, who found new ideas about stagecraft in Fuller’s work and fresh sources for her art in Sada Yocco’s plays. In 1924 St. Denis paid tribute to Fuller with the duet Valse à la Loie.
11. According to paragraph 6, what was true of Fuller’s theater at the Paris Exposition?
○It presented some works that were not by Fuller.
○It featured performances by prominent male as well as female dancers.
○It became a famous school that is still named in honor of Fuller.
○It continued to operate as a theater after Fuller died.
12. The passage mentions which of the following as a dance of Fuller’s that was set to music?
○Fire Dance
○Radium Dance
○Le Lys de la Vie
○Valse à la Loie
Paragraph 5: As her technological expertise grew more sophisticated, so did the other aspects of her dances. ■ Although she gave little thought to music in her earliest dances, she later used scores by Gluck, Beethoven, Schubert, Chopin, and Wagner, eventually graduating to Stravinsky, Fauré, Debussy, and Mussorgsky, composers who were then considered progressive. ■ She began to address more ambitious themes in her dances such as The Sea, in which her dancers invisibly agitated a huge expanse of silk, played upon by colored lights. ■ Always open to scientific and technological innovations, she befriended the scientists Marie and Pierre Curie upon their discovery of radium and created a Radium Dance, which simulated the phosphorescence of that element. ■ She both appeared in films—then in an early stage of development—and made them herself; the hero of her fairy-tale film Le Lys de la Vie (1919) was played by René Clair, later a leading French film director.
13. Look at the four squares [■] that indicate where the following sentence could be added to the passage.
For all her originality in dance, her interests expanded beyond it into newly emerging artistic media.
Where would the sentence best fit?
14. Directions: An introductory sentence for a brief summary of the passage is provided below. Complete the summary by selecting the THREE answer choices that express the most important ideas in the passage. Some sentences do not belong in the summary because they express ideas that are not presented in the passage or are minor ideas in the passage. This question is worth 2 points.
Loie Fuller was an important and innovative dancer.
●
●
●
Answer Choices
○Fuller believed that audiences in the late nineteenth century had lost interest in most theatrical dance.
○ Fuller transformed dance in part by creating dance interpretations of works by poets and painters.
○ Fuller’s work influenced a number of other dancers who were interested in experimental dance.
○ Fuller introduced many technical innovations to the staging of theatrical dance.
○ develop throughout her career, creating more complex works and exploring new artistic media.
○ By the 1920’s, Fuller’s theater at the Paris Exhibition had become the world center for innovative dance.
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Loie Fuller
洛伊•富勒 (1862-1928)是美國(guó)的一位舞蹈家，她認(rèn)為19世紀(jì)末的舞臺(tái)式舞蹈缺乏藝術(shù)性。她把她自己定義為一位藝術(shù)家而不僅僅演藝人員，隨之下來，于是其他藝術(shù)家對(duì)她頗為的關(guān)注。
富勒編排了一種舞蹈，注重的是燈光的變換和她所穿的大擺長(zhǎng)裙和布料，她的舞蹈主要是通過上肢的變化來展現(xiàn)，有時(shí)借助于裙子里面的支撐物。她沒有采用那時(shí)最有顯要地位的技巧性強(qiáng)的芭蕾動(dòng)作，或許是因?yàn)樗邮艿恼?guī)性訓(xùn)練太少。雖然在她早期的戲劇職業(yè)生涯中曾有當(dāng)女演員的經(jīng)歷，但她的主要興趣并不是通過舞蹈來講述故事或表達(dá)情感，她舞蹈中的劇情來自于她所營(yíng)造的視覺效果。
盡管她是在美國(guó)找到并呈現(xiàn)了她的藝術(shù)，但最大的成就在巴黎，在1892年她被Folies Bergere（一個(gè)巴黎劇院）所雇傭并迅速成為“La Loie”----巴黎觀眾的寵兒。她的很多舞蹈作品表現(xiàn)的都是基本元素或者自然景物，例如火、百合花、蝴蝶等等，因此這與流行的新藝術(shù)派風(fēng)格是一致的，都注重自然意象和流暢彎曲的線條。她的舞蹈還吸引了那一時(shí)期的法國(guó)詩(shī)人和畫家的關(guān)注，因?yàn)樗狭怂麄儗?duì)神秘事物的喜愛，符合他們藝術(shù)至上主義的信仰（19世紀(jì)的一種觀念，即藝術(shù)本身具有價(jià)值，而不是因?yàn)樗诘赖禄蛘呓逃系囊嫣幎哂袃r(jià)值），以及他們?yōu)閷⑿问胶蛢?nèi)容綜合在一起而付出的努力。
富勒曾經(jīng)學(xué)習(xí)過科學(xué)知識(shí)，所以經(jīng)常試用電氣燈光（電燈在那個(gè)時(shí)候才剛剛面市），染色膠，投影片，和其他方面的舞臺(tái)技術(shù)。她對(duì)色彩和燈光的研究與當(dāng)時(shí)幾位藝術(shù)家相應(yīng)，特別是在畫布上以描繪極其細(xì)微的點(diǎn)來創(chuàng)造形狀和光澤，而不是用線條的而著名的點(diǎn)彩派畫家Seurat。富勒主要的發(fā)明之一是地面照明，意思是她站在一塊毛玻璃上，而光是從下面照射上來的。這個(gè)發(fā)明尤其在她以Richard Wagner的“Ride of the Valkyries”作為背景音樂的作品火（1895）中起到了很大作用。這個(gè)舞蹈吸引了藝術(shù)家Henri de Toulouse-Lautrec的眼球，他把它在石版畫中描繪了出來。
她的工藝技術(shù)變得更加成熟，這也帶動(dòng)了舞蹈的其他方面。盡管她在早期舞蹈作品中，沒有花太多心思在音樂上，但隨后她使用了Gluck, Beethoven, Schubert, Chopin,和Wagner的樂曲，最后則采用了Stravinsky, Fauré, Debussy, 和Mussorgsky，在當(dāng)時(shí)被認(rèn)為是進(jìn)步作曲家的曲子。她開始在她的舞蹈中嘗試更有野心的主題，比如作品《大海》作品中舞者們?cè)诓噬珶艄庥痴障碌倪|闊的絲綢下隱隱擺動(dòng)。因?yàn)楦焕湛偸菍?duì)科技創(chuàng)新抱有很開放的態(tài)度，她幫助科學(xué)家Marie和Pierre Curie進(jìn)行鐳的研究并編排了舞蹈作品《鐳》來模仿該元素的磷光現(xiàn)象。她還踏足了電影業(yè)----那個(gè)時(shí)候還處于早期發(fā)展中----她的電影都是自己制作拍攝的；在她的童話電影Le Lys de la Vie (1919)中得男主角扮飾演者René Clair，后來成為一名知名法國(guó)電影導(dǎo)演。
在1990年的巴黎展覽會(huì)上，她擁有了自己的獨(dú)立劇場(chǎng)，在那里，她除了自己跳舞，還呈現(xiàn)了日本女演員Sada Yocco的啞劇。1908年左右，她成立了一個(gè)女性公司并建立了一所學(xué)校，但都沒有成功。盡管她今天被人熟知主要是因?yàn)樗龓淼奈枧_(tái)燈光創(chuàng)新，但她的事跡也與另外兩個(gè)美國(guó)舞蹈家Isadora Duncan和Ruth St. Denis有關(guān),當(dāng)時(shí)他們兩個(gè)也在不斷地嘗試新型舞蹈。她贊助了Duncan在歐洲的首次亮相。St. Denis拜訪了她在巴黎展覽會(huì)的劇場(chǎng)，分別為富勒的作品和她在Sada Yocco劇本的藝術(shù)作為找到了新的編劇想法和鮮活的素材。1924年，St. Denis用二重奏Valse à la Loie表達(dá)了對(duì)富勒的贊賞。
洛伊•富勒（1862年1月15日 - 1928年1月1日）是一個(gè)現(xiàn)代舞蹈和舞臺(tái)燈光技術(shù)的先驅(qū)。
新藝術(shù)派：新藝術(shù)運(yùn)動(dòng)，起源于法國(guó)巴黎。這種風(fēng)格中最重要的特性就是充滿活力、波浪形和流動(dòng)的線條。新藝術(shù)運(yùn)動(dòng)主張運(yùn)用高度程序化的自然元素，使用其最為創(chuàng)作靈感和擴(kuò)充“自然”元素的資源，例如：海藻、草、昆蟲。
