Variations on the Dance of the Seven Veils

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Show simple item record Caddy, DL en 2012-01-30T20:02:23Z en 2005 en
dc.identifier.citation Cambridge Opera Journal 17(1):37-58 2005 en
dc.identifier.issn 0954-5867 en
dc.identifier.uri en
dc.description.abstract Early twentieth-century Paris saw an embarrassment of half-naked women dancing with seven veils and papier-mâché heads: ‘Salomania’ had gripped the capital. By 1913 Salome was a regular feature on music hall show-bills, besides the balletic and operatic stage. This study focuses on three variations on Salome’s notorious Dance of the Seven Veils, performed by Loie Fuller (1907), Ida Rubinstein (1909) and Maud Allan (from 1906) on music by Florent Schmitt, Nikolay Rimsky-Korsakov and Richard Strauss respectively. Such an investigation provides a peculiar line through the cultural and aesthetic determinants of early twentiethcentury theatrical dance. In this context music takes on new narrative significance, offering ways of configuring the Dance above and beyond its mere visual surface. en
dc.publisher Cambridge University Press en
dc.relation.ispartofseries Cambridge Opera Journal en
dc.rights Items in ResearchSpace are protected by copyright, with all rights reserved, unless otherwise indicated. Previously published items are made available in accordance with the copyright policy of the publisher. Details obtained from en
dc.rights.uri en
dc.rights.uri en
dc.title Variations on the Dance of the Seven Veils en
dc.type Journal Article en
dc.identifier.doi 10.1017/S095458670500193X en
pubs.issue 1 en
pubs.begin-page 37 en
pubs.volume 17 en
dc.rights.holder Copyright: Cambridge University Press en
pubs.end-page 58 en
dc.rights.accessrights en
pubs.subtype Article en
pubs.elements-id 99283 en
pubs.record-created-at-source-date 2010-09-01 en

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