Body Knowledge: Performance, Intermediality, and American Entertainment at the Turn of the Twentieth Century , by Mary Simonson. Oxford and New York: Oxford University Press, 2013. x, 278 pp. This book would make a great movie. With an impressive cast, celebrity cameos, tightly woven plot-lines, and scene-setting vignettes, Mary Simonson’s study is devoted to motion pictures—literally, to images that move. Her book embraces theatrical genres (opera, ballet, revue, musical comedy) and their musical, visual, and gestural aspects; the practical realities of stage performance and pageantry; dramatic impersonation and its opposite (acrobatic stunts, vaudeville skits, so-called “modern” dance); the influence of recording technologies; and the history and aesthetics of photography and cinema itself. A scholar of film and media studies, Simonson is primarily interested in the process of adaptation—ways in which performers, dramatic characters, narrative themes, musical extracts, song and dance numbers, and even paintings “turned up” in strange, new, and specifically American contexts in the years around 1900. In particular, Simonson describes slippage between genres incorporating dance; and she focuses on women—dancers, singers, and actresses turned political commentators, cultural arbiters of taste, model citizens, and masterminds of their own musical shows. To Simonson, these shows and the women behind them (not to forget those in the audience) open a new optic onto a “vibrant American artistic culture,” one both dependent on and resistant to European traditions (p. 199). Moreover, as Simonson states, female performance betrays a network of interconnections and exchange, not only between the arts and their related practitioners but between broader strands of cultural influence. The prologue offers a first example of what Simonson calls “intermediality”—artistic experimentation across genre boundaries, involving the dissemination of techniques, stylistic vocabularies, and aesthetics seemingly specific to different visual, musical, and performing arts (on which more later). Here we learn how numbers from the black musical comedy My Friend from Kentucky circulated in the early 1900s—evidence, to Simonson, not only of the legacy of minstrel theater but of “contemporary practices of artistic …
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