{"title":"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","authors":"Mercedes Alvarez San Román","doi":"10.1017/s0149767723000372","DOIUrl":null,"url":null,"abstract":"<p>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.</p>","PeriodicalId":44926,"journal":{"name":"DANCE RESEARCH JOURNAL","volume":"16 1","pages":""},"PeriodicalIF":0.4000,"publicationDate":"2024-05-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"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\",\"authors\":\"Mercedes Alvarez San Román\",\"doi\":\"10.1017/s0149767723000372\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"<p>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.</p>\",\"PeriodicalId\":44926,\"journal\":{\"name\":\"DANCE RESEARCH JOURNAL\",\"volume\":\"16 1\",\"pages\":\"\"},\"PeriodicalIF\":0.4000,\"publicationDate\":\"2024-05-08\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"DANCE RESEARCH JOURNAL\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1017/s0149767723000372\",\"RegionNum\":2,\"RegionCategory\":\"艺术学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"DANCE\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"DANCE RESEARCH JOURNAL","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1017/s0149767723000372","RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"DANCE","Score":null,"Total":0}
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.
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.