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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 | |