Female Performance Practice on the Fin-De-Siecle Popular Stage of London and Paris - (Women, Theatre and Performance) by Catherine Hindson
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<p/><br></br><p><b> About the Book </b></p></br></br>This book focuses on seven celebrity performers working between the mid 1880s and 1910. Maud Allan, Jane Avril, Loïe Fuller, Sylvia Grey, Yvette Guilbert, Letty Lind and Cissie Loftus achieved international fame, whilst simultaneously creating new and innovative performances on the popular stage.<p/><br></br><p><b> Book Synopsis </b></p></br></br>This study focuses on seven women who used the fin-de-siècle's popular stage as a space to develop their experimental performance practices: acts that won them international fame and critical acclaim. The diverse entertainment careers of Maud Allan (1873-1956), Jane Avril (1868-1943), Loïe<br>Fuller (1868-1926), Sylvia Grey (1866-1958), Yvette Guilbert (1867-1944), Letty Lind (1862-1923) and Cissie (Cecilia) Loftus (1876-1943) encompassed song, dance, impersonation and acting. In accounts, reviews, autobiographical writings, interviews and other cultural products associated with them it<br>is clear that individual female celebrities understood their work as creative, professional and original performance practice. The absence of their creative work from studies of performance history reveals much about hierarchical approaches to cultural environments, gender and physical, non-scripted<br>performances that demands to be interrogated.<br><p/><br></br><p><b> From the Back Cover </b></p></br></br>This study focuses on seven women who used the fin-de-siècle's popular stage as a space to develop their experimental performance practices: acts that won them international fame and critical acclaim. The diverse entertainment careers of Maud Allan (1873-1956), Jane Avril (1868-1943), Loïe Fuller (1868-1926), Sylvia Grey (1866-1958), Yvette Guilbert (1867-1944), Letty Lind (1862-1923) and Cissie (Cecilia) Loftus (1876-1943) encompassed song, dance, impersonation and acting. In accounts, reviews, autobiographical writings, interviews and other cultural products associated with them it is clear that individual female celebrities understood their work as creative, professional and original performance practice. The absence of their creative work from studies of performance history reveals much about hierarchical approaches to cultural environments, gender and physical, non-scripted performances that demands to be interrogated.<p/><br></br><p><b> About the Author </b></p></br></br><br>Catherine Hindson is Lecturer in Performance Studies at the University of Bristol<br>
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