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LEADER 03297cam a2200433 i 4500

001 ocn828626817;

003 OCoLC;

005 20131219060305.9;

008 130207s2013 nyua b 001 0 eng ;

010 a| 2013005314;

020 a| 9780199898015 (alk. paper);

020 a| 0199898014 (alk. paper);

020 a| 9780199898039 (alk. paper);

020 a| 0199898030 (alk. paper);

035 a| (Sirsi) 99961546107;

035 a| 99961546107;

035 a| (OCoLC)828626817;

042 a| pcc;

050 00 a| ML1711b| .S56 2013;

082 00 a| 792.7082/09732| 23;

100 1 a| Simonson, Mary.=| ^A1250635;

245 10 a| Body knowledge :b| performance, intermediality, and American entertainment at the turn of the twentieth century /c| Mary Simonson.;

264 1 a| New York :b| Oxford University Press,c| [2013];

300 a| x, 278 pages :b| illustrations ;c| 24 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

504 a| Includes bibliographical references (pages 251-271) and index.;

520 a| While female performers in the early 20th century were regularly advertised as dancers, mimics, singers, or actresses, they wove together techniques and elements drawn from a wide variety of genres and media. Onstage and onscreen, performers borrowed from musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers. Behind the scenes, they experimented with cross-promotion and new advertising techniques and 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 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 Genée and Bessie Clayton's danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. As a whole, it re-imagines early twentieth-century art and entertainment as both fluid and convergent.;

650 0 a| Intermediality.=| ^A1194653;

949 i| 30372013813297o| jjlm;

960 o| 1s| 29.95t| Joyner48u| JTHAz| USD;

596 a| 3;

998 a| 3708975;

999 a| ML1711 .S56 2013w| LCc| 1i| 30372013813297d| 6/3/2015e| 3/26/2015f| 4/9/2024g| 2l| MSTm| JMUSICr| Ys| Yt| MGESBKu| 2/16/2015x| BOOKz| MCIRCo| .STAFF. jjlm; enhanced 1/23/23 -jjab;

Body knowledge : performance, intermediality, and American entertainment at the turn of the twentieth century / Mary Simonson.

Author/creator	Simonson, Mary
Format	Book
Publication	New York : Oxford University Press, [2013]
Description	x, 278 pages : illustrations ; 24 cm
Subjects	Revues--United States. --20th century. --History and criticism. Women dancers--United States. --History. --20th century. Intermediality.

Contents	Prologue: Singing intermediality: Darktown, downtown -- Choreographing Salome: re-creating the female body -- Acting ancient: Hellenism, pageantry, and American modernity -- Dancing music: Isadora Duncan and Wagnerism in the American imagination -- Dancing pictures: Rita Sacchetto's Tanzbilder -- Moving images: Adeline Genée and Bessie Clayton's danced histories -- Filming opera: Anna Pavlova and The Dumb Girl of Portici -- Finale: Performing intermediality in The Passing Show of 1913.
Abstract	While female performers in the early 20th century were regularly advertised as dancers, mimics, singers, or actresses, they wove together techniques and elements drawn from a wide variety of genres and media. Onstage and onscreen, performers borrowed from musical scores and narratives, referred to contemporary shows, films, and events, and mimicked fellow performers. Behind the scenes, they experimented with cross-promotion and new advertising techniques and 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 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 Genée and Bessie Clayton's danced histories, Hazel Mackaye and Ruth St. Denis's pageants, and Anna Pavlova's opera and film projects. As a whole, it re-imagines early twentieth-century art and entertainment as both fluid and convergent.
Bibliography note	Includes bibliographical references (pages 251-271) and index.
LCCN	2013005314
ISBN	9780199898015 (alk. paper)
ISBN	0199898014 (alk. paper)
ISBN	9780199898039 (alk. paper)
ISBN	0199898030 (alk. paper)

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Library	Location	Call Number	Status	Item Actions
Music	Music Stacks	ML1711 .S56 2013	✔ Available	Place Hold

Body knowledge : performance, intermediality, and American entertainment at the turn of the twentieth century / Mary Simonson.

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