Loïe Fuller, physical poet, 1862-1928
“Space – my space – is not the context of which I constitute the ‘textuality’: instead it is first of all my body, and then it is in my body’s counterpart or ‘other’, it’s mirror image or shadow: it is the shifting intersection between that which touches, penetrates, threatens or benefits my body on the one hand, and all other bodies on the other. Thus we are concerned, once again, with gaps and tensions, contacts and separations, Yet, through and beyond these various effects of meaning, space is actually experienced, in its depths, as duplications, echoes and reverberations, redundancies and doublings up…”
Text reproduced from The Production of Space, Henri Lefebvre, Trans. Donald Nicholson-Smith, Blackwell Publishing UK, 1991: pp.184
Image reproduced from http://www.metmuseum.org/collections/search-the-collections/287807 where you will also find more information on Loïe Fuller
Loïe Fuller (physical poet) & The Serpentine Dance, 1862-1928
“Yet we are talking about major ruptures that affect everyone, every generation, and all their images, languages, ways of life. From one moment to the next, this opens in us, allowing us to see this vast drift (derive) of the world. From one moment to the next, we find ourselves sensibly and physically outside of ourselves, outside the blind slipping away of our tiny stretch of time. We see the night that borders our time, and we touch on some aspect of it- not the future, but the coming of something or someone: the coming of something that is already of us and of the world, but that has to come from somewhere else, displaced elsewhere into an unimaginable elsewhere.”
Text quoted from the Changing of the World in A Finite Thinking (2003) Jean-Luc Nancy, Ed. Simon Sparks, Stanford University Press: USA 2003, pp.301. Image reproduced from http://www.erinwylie.com/2012/08/loie-fullers-the-serpentine-dance/ accessed 19012014.
Loïe Fuller, Le Dans du Lys, ca.1902. Photo: W.Isaiah Taber
“In relation to Loïe Fuller insofar as she spreads round about, with veils attached her person by the action of dance, everything has been said in articles, at times in poems. Exercise as invention, without employ, admits of an artistic rapture and at the same time an industrial accomplishment.
In the terrific bath of fabrics there swoons, radiant, cold, the dancer who illustrates many a giratory theme in which a distant fulsome woof tautens, giant petal and butterfly, unfurling all in a clear-cut and elementary order.
Her fusion with swift nuances shedding their hydroxic fantasmagoria of twilight and of grotto, such rapidities of passions, delight, mourning, ire: to move them, prismatic, with violence or diluted, the dizziness is needed of a soul like an airing of artifice. That a woman may associate the flying off of vestments with dance, potent or vast, to the point of sustaining them, infinitely as her expansion. The Lesson depends on this spiritual effect.”
Text Stéphane Mallarmé, National Observer, 1893 quoted from Art and Utopia, Restricted Action, pp.86