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List of Illustrations | |
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Acknowledgments | |
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Introduction | |
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The Evolution of Fuller's Performance Aesthetic | |
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Early Years: Awareness and Unconsciousness | |
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The Evolution of a European Modernist | |
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Electric Salome: Loie Fuller at the World's Fair of 1900 | |
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A Handsome Savage | |
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The World's Fair of 1900 | |
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Queen of the Fair | |
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Mutable Geography and Adopted Nationality | |
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Salome | |
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Fuller's Japanese Costars at the Fair | |
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A Yankee Salome on the Rue de Paris | |
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The New Colonial Power: The United States at the World's Fair | |
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A Vision of America to Come | |
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Fuller and the Romantic Ballet | |
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Yankees Don't Do Ballet | |
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Romantic Ballet: Sprites, Swans, and Windup Toys | |
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Fuller: The Accidental Sylph | |
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Technical Developments | |
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Fuller, Hoffmann, and the Technologized Body | |
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Coppelia and the Romantic Ballet Couple | |
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Ambivalent Ballet: Fuller's Figurative and Literal Performance of Disavowal | |
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A Balletic Dream of Modernism | |
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Scarring the Air: Loie Fuller's Bodily Moderism | |
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Fuller's Invisibility: Modernist Physicality, Sex, and Cultural Legacy | |
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Fleur du Sang: Fuller's Violent and Erotic Physicality | |
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The Erocic Fuller | |
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The Scandalous Ballets Loie Fuller | |
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Instinct, Nature, and Versions of Interiority | |
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The Mechanics of the Group | |
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The Triumph of La Mer | |
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Martha Graham's Lamentation | |
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Fuller in a New Light | |
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The Physical Analogue of the Psychological | |
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Of Veils and Onion Skins: Fuller and Modern European Drama | |
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Radical Mechanicity | |
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Character and Identity | |
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Tristan Tzara's Mouchoir de Nuages | |
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Tzara's Hamlet | |
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Reading the Clouds: Shakespeare, Freud, and Fuller | |
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Afterword: Thoughts on Contemporary Traces of Fuller | |
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Selected Bibliography | |
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Index | |