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)是美国的一位舞蹈家，她认为19世纪末的舞台式舞蹈缺乏艺术性。她把她自己定义为一位艺术家而不仅仅演艺人员，随之下来，于是其他艺术家对她颇为的关注。
富勒编排了一种舞蹈，注重的是灯光的变换和她所穿的大摆长裙和布料，她的舞蹈主要是通过上肢的变化来展现，有时借助于裙子里面的支撑物。她没有采用那时最有显要地位的技巧性强的芭蕾动作，或许是因为她接受的正规性训练太少。虽然在她早期的戏剧职业生涯中曾有当女演员的经历，但她的主要兴趣并不是通过舞蹈来讲述故事或表达情感，她舞蹈中的剧情来自于她所营造的视觉效果。
尽管她是在美国找到并呈现了她的艺术，但最大的成就在巴黎，在1892年她被Folies Bergere（一个巴黎剧院）所雇佣并迅速成为“La Loie”----巴黎观众的宠儿。她的很多舞蹈作品表现的都是基本元素或者自然景物，例如火、百合花、蝴蝶等等，因此这与流行的新艺术派风格是一致的，都注重自然意象和流畅弯曲的线条。她的舞蹈还吸引了那一时期的法国诗人和画家的关注，因为它迎合了他们对神秘事物的喜爱，符合他们艺术至上主义的信仰（19世纪的一种观念，即艺术本身具有价值，而不是因为它在道德或者教育上的益处而具有价值），以及他们为将形式和内容综合在一起而付出的努力。
富勒曾经学习过科学知识，所以经常试用电气灯光（电灯在那个时候才刚刚面市），染色胶，投影片，和其他方面的舞台技术。她对色彩和灯光的研究与当时几位艺术家相应，特别是在画布上以描绘极其细微的点来创造形状和光泽，而不是用线条的而著名的点彩派画家Seurat。富勒主要的发明之一是地面照明，意思是她站在一块毛玻璃上，而光是从下面照射上来的。这个发明尤其在她以Richard Wagner的“Ride of the Valkyries”作为背景音乐的作品火（1895）中起到了很大作用。这个舞蹈吸引了艺术家Henri de Toulouse-Lautrec的眼球，他把它在石版画中描绘了出来。
她的工艺技术变得更加成熟，这也带动了舞蹈的其他方面。尽管她在早期舞蹈作品中，没有花太多心思在音乐上，但随后她使用了Gluck, Beethoven, Schubert, Chopin,和Wagner的乐曲，最后则采用了Stravinsky, Fauré, Debussy, 和Mussorgsky，在当时被认为是进步作曲家的曲子。她开始在她的舞蹈中尝试更有野心的主题，比如作品《大海》作品中舞者们在彩色灯光映照下的辽阔的丝绸下隐隐摆动。因为富勒总是对科技创新抱有很开放的态度，她帮助科学家Marie和Pierre Curie进行镭的研究并编排了舞蹈作品《镭》来模仿该元素的磷光现象。她还踏足了电影业----那个时候还处于早期发展中----她的电影都是自己制作拍摄的；在她的童话电影Le Lys de la Vie (1919)中得男主角扮饰演者René Clair，后来成为一名知名法国电影导演。
在1990年的巴黎展览会上，她拥有了自己的独立剧场，在那里，她除了自己跳舞，还呈现了日本女演员Sada Yocco的哑剧。1908年左右，她成立了一个女性公司并建立了一所学校，但都没有成功。尽管她今天被人熟知主要是因为她带来的舞台灯光创新，但她的事迹也与另外两个美国舞蹈家Isadora Duncan和Ruth St. Denis有关,当时他们两个也在不断地尝试新型舞蹈。她赞助了Duncan在欧洲的首次亮相。St. Denis拜访了她在巴黎展览会的剧场，分别为富勒的作品和她在Sada Yocco剧本的艺术作为找到了新的编剧想法和鲜活的素材。1924年，St. Denis用二重奏Valse à la Loie表达了对富勒的赞赏。
洛伊•富勒（1862年1月15日 - 1928年1月1日）是一个现代舞蹈和舞台灯光技术的先驱。
新艺术派：新艺术运动，起源于法国巴黎。这种风格中最重要的特性就是充满活力、波浪形和流动的线条。新艺术运动主张运用高度程序化的自然元素，使用其最为创作灵感和扩充“自然”元素的资源，例如：海藻、草、昆虫。
