One of the most famous dancers of the early 1900s, Loie Fuller created an extraordinary sensation in Paris with her manipulations of hundreds of yards of silk, swirling high above her and lit dramatically from below. Because her work highlights important issues in dance such as the role of technology in defining a dancing signature, the emergence of a modern movement sensibility, and the role of popular entertainment in early modern dance, Fuller is a critical figure through whom to study the changing representations of women dancers in the early twentieth century.Author Ann Cooper Albright places Fuller in the context of fin-de-siecle culture and offers a compelling analysis of Fuller's innovations in lighting and movement that includes full-color reproductions of original posters, archival photos, and magazine and newspaper clippings. "Traces of Light" adds significantly to the literature on twentieth-century dance, illuminating a pioneer who helped to shape modern performance and stagecraft.

One of the most famous dancers of the early 1900s, Loie Fuller created an extraordinary sensation in Paris with her manipulations of hundreds of yards of silk, swirling high above her and lit dramatically from below. Because her work highlights important issues in dance such as the role of technology in defining a dancing signature, the emergence of a modern movement sensibility, and the role of popular entertainment in early modern dance, Fuller is a critical figure through whom to study the changing representations of women dancers in the early twentieth century.Author Ann Cooper Albright places Fuller in the context of fin-de-siecle culture and offers a compelling analysis of Fuller's innovations in lighting and movement that includes full-color reproductions of original posters, archival photos, and magazine and newspaper clippings. "Traces of Light" adds significantly to the literature on twentieth-century dance, illuminating a pioneer who helped to shape modern performance and stagecraft.

ANN COOPER ALBRIGHT teaches dance at Oberlin College, where she is also chair of the gender and women's studies program. She is the author or editor of three previous WUP books: Choreographing Difference: The Body and Identity in Contemporary Dance (2003), Taken by Surprise: A Dance Improvisation Reader, co-edited with David Gere (1997), and Moving History/ Dancing Cultures: A Dance History Reader, co-edited with Ann Dils (2001).