梅塞德斯小姐总是朱莉安娜-马修吗?使用艺名重塑巴黎美好年代音乐厅舞者生涯的挑战

IF 0.4 2区 艺术学 0 DANCE DANCE RESEARCH JOURNAL Pub Date : 2024-05-08 DOI:10.1017/s0149767723000372
Mercedes Alvarez San Román
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引用次数: 0

摘要

舞蹈家梅塞德斯小姐曾在巴黎 "美好年代 "最重要的音乐厅(如贝尔盖尔剧院和奥林匹亚剧院)表演。她充满异国情调的假名反映了这一时期法国的西班牙情结,但她既不是西班牙舞者,也不是本地人的模仿者。相反,她作为一名舞者展现了多才多艺的一面,并与舞者 Loïe Fuller 和编舞 Mariquita 夫人一起积极参与了向现代性的过渡。然而,这位艺术家的名字背后究竟是谁呢?这项研究发现,至少有三位女性使用过这个绰号,而其中只有一位曾被确认过:朱莉安娜-马蒂厄(Julienne Mathieu,1874-1943 年),在她的舞台生涯之后,成为早期电影中最多产的女演员之一。本案例研究探讨了一位在上世纪巴黎舞蹈界处于次要地位的人物使用笔名的意义。
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Is Mademoiselle Mercédès Always Julienne Mathieu? The Challenges of Using a Stage Name to Reconstruct the Career of a Parisian Belle Époque Music Hall Dancer

The dancer Mademoiselle Mercédès performed in the most important music halls of the Parisian Belle Époque, such as the Folies-Bergère and the Olympia. Her exotic pseudonym reflects the Hispanophilia of this period in France, but she was neither a Spanish dancer nor a native imitator. On the contrary, she displayed great versatility as a dancer and actively participated in the transition to modernity with the dancer Loïe Fuller and the choreographer Madame Mariquita. However, who is behind this artist's name? This research reveals that at least three women used this nickname and only one of them has been previously identified: Julienne Mathieu (1874–1943), who, after her stage career, became one of the most prolific actresses in early cinema. This case study explores the implications of using a pseudonym by a secondary figure in the dance world in fin-de-siècle Paris.

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来源期刊
CiteScore
1.20
自引率
0.00%
发文量
15
期刊介绍: Dance Research Journal is the longest running, peer reviewed journal in its field, and has become one of the foremost international outlets for dance research scholarship. The journal carries scholarly articles, book reviews, and a list of books and journals received.
期刊最新文献
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