Text: Yulia Gulyan
On November 3, the film "Dancer" will be released on Russian screens with singer Soko in the title role - she plays Loie Fuller. It also features Gaspar Ulliel and Lily-Rose Depp playing Isadora Duncan. The Serpentine dance, invented by Fuller, with an avant-garde design of a dress illuminated by multi-colored spotlights, amazed audiences on both sides of the ocean. His hand-painted tape is considered one of the first in the history of color cinema. However, in 2016, the dance was able to captivate our contemporaries in Cannes. The leading actress Soko spoke about the similarities with her character and shared her impressions of working with the director of the film - Stephanie Di Justo.
I agreed to participate in the film without even reading the script. Stephanie then said that she was writing the role of my whole life for me. By that time, I already knew Stephanie well as a director, we shared tastes both in cinema and in art in general, so I agreed. Plus, I liked the way Stephanie described Loi, and playing such an amazing heroine and bringing her back from oblivion is a great success for me.
Loie Fuller became a prominent figure in the Parisian circle of avant-garde artists, was friends with Moser, Toulouse-Lautrec and Rodin (who later developed the idea of the sequential development of modern dance along the Fuller-Duncan-Nezhinsky line) and even influenced the course of the First World War, facilitating diplomatic relations between the United States and Romania.
The Dancer gives an honest idea of what it means to be an artist, so I certainly share Fuller's attitude towards the stage. I am also a workaholic, I am dedicated to my work, be it music or cinema. Like Loi, I put my whole soul into my work, sparing no effort or tears, because to give without a trace, with all my heart, is what it means to be an artist. But unlike her, I easily show myself on stage, not afraid to open up. Fuller's work was based on the fact that on stage she hid behind her costume in fear of being seen.
This is not the first lead role for Soko, who rose to fame as a singer after the single "I'll Kill Her" in 2007. This year, among the favorites of the Cannes Film Festival was the French film "The Break", in which she played one of the girl soldiers who came to the Cypriot retreat after a difficult mission in Afghanistan.
In my opinion, it is wonderful to find in history and revive such treasures as the Serpentine dance captured on film. Since such amazing people as the Lumière brothers were interested in the person of Loya Fuller, then we all the more should open the work of the dancer to the modern audience - this is just fair.
One of the first colorized films in the history of cinema is Loie Fuller's Dance, performed by the dancer Annabela Moore. The film was shot and hand-painted at Edison's studio and was intended to be shown using a kinetoscope, Edison's invention for individual movie viewing.
The Dancer is not a biopic, but rather a portrait of an artist, a strong woman devoted to art. This is Stephanie DiJusteau's vision, this is the story the director wanted to tell. I can't even imagine how you can fit a person's life into an hour and a half of screen time. Stephanie had to sacrifice a lot to show in the film what touched her the most in Loya's story.
Without a doubt, she wanted to make a film in which women are empowered to act without detracting from the position of men. But the fact is that Loi was a real hurricane - next to such a concentration of creativity, despair and strength, it was almost impossible to find a place for others.
Despite the fact that the pioneer of modern dance was Loe Fuller, her follower Isadora Duncan is best known in popular culture.She first saw Loe perform at the 1900 International Exhibition and for two years after that they performed together. But, in contrast to Fuller's mechanized dance, Duncan advocated a return to freedom of movement, grace and naturalness.
The fact that people in popular culture know Loi's follower Isadora Duncan better, I explain by the fact that life is unfair. In principle, I explain most of the events by this. Loi was at the peak of her dance career when Isadora appeared. She was full of freedom: she did not hide behind the costume and scenery, her dance was a manifesto of naturalness and simplicity. The ease with which she showed her body in dance delighted the audience. Loya's performances, on the other hand, were hellish labor and expensive pleasure with a heavy costume, large-scale decorations, and equipment. Physically, it was a grueling performance: Fuller had to recover three days after each performance.
Photos: Les Productions du Trésor