Ziegfeld Influence: Parisian Dance Hall Girl Series (Contacts) Oct 31, '08 12:58 PM
john and jane for historical ziegfeld #340
Paris Dance Hall Girls (Casino de Paris, Folies Bergere, Moulin Rouge, and Spark's Ballet) by Alfred Noyer. From Paris Plaisirs magazine with some by Walery. I've included a few photos as well.
The Noyer Studio was a large Parisian photo studio supervised by the well known photographer Alfred Noyer. Many of his early cards were photo reproductions of drawn, painted, or sculpted artworks printed in halftone lithography. He also produced illustrated photo cards of the First World War, many with heavy patriotic or allegorical themes. By the 1920's he began producing cards of children and women, many of which were nudes or risque images. Noyer was a member of the Salon de Paris. He photographed paintings for the Salon and other institutions for the production of art cards. While many cards carry his distinctive logo or his name, others are just marked AN.
Walery was the by-line adopted by two photographers, a father and son who both adopted the working name Walery. Upon the death the elder, Count Stanislaw Julian Ostrorog in June 1890, his son Stanislaw Julian Ignacy (1863-1935) continued the business and later combined (between 1890-1900) with another photographer Alfred Ellis to become Ellis and Walery. In 1900 Walery moved to Paris to open a studio on the Rue de Irondes and began to specialise in the showgirls of Folies Bergere and subjects such as Mata Hari. His portraits of Josephine Baker are particularly celebrated.
The Folies Bergère, located at 32 rue Richer in the 9th Arondissement, Paris, was built as an opera house by the architect Plumeret. It was patterned after the Alhambra music hall in London. It opened on May 2, 1869 as the Folies Trévise with fare including operettas, comic opera, popular song, and gymnastics.
In the early 1890s, the American dancer Loie Fuller (Serpentine Dance, Fire Dance) starred at the Folies Bergère. Nearly thirty years later, Joséphine Baker, an African-American expatriate singer, dancer, and entertainer, became an "overnight sensation" at the Folies Bergère in 1926 with her suggestive "banana dance", in which she wore a skirt made of bananas (and little else).
The Folies catered to popular taste. Shows featured elaborate costumes; the women's were frequently revealing, and shows often contained a good deal of nudity. Shows also played up the "exoticness" of persons and things from other cultures, obliging the Parisian fascination with "négritude" of the 1920s.
The Folies Bergère inspired the Ziegfeld Follies in the United States and other similar shows. Folies Productions were lavish to say the least. Paul Derval, the Company Manager, said in a Folies programme: "The fabrics required for a review measure some 500 kilometers - the distance from Paris to Lyons."
In charge of making the review costumes was Max Weldy. An article in Paris Soir on December 18, 1928 describes Weldy's job: "Weldy ran a huge operation. For example, when Erte designed a tableaux "Gold" for Ziegfeld in New York, duplicate sets were made the next year for the Follies Bergere and theatres around the world... Max Weldy held the rights to the costume designs so that when revues were staged at the Folies, duplicate sets could be made and sold to other theatres. Costumes, decors, curtains are exported by Weldy to the Winter Garden, to Ziegfeld, to the Apollo Theatre, New York..."
The Moulin Rouge (French for Red Windmill) is a traditional cabaret built in 1889 by Josep Oller, who also owned the Paris Olympia. It is near Montmartre in the Paris red-light district of Pigalle on Boulevard de Clichy in the 18th arrondissement, recognized by the facsimile of a large red windmill on its roof.
The Moulin Rouge is famous internationally as the 'spiritual home' of the traditional French Can-Can, which is still performed there today. The People's Almanac credited the origin of striptease as we know it to an act in 1890s Paris in which a woman slowly removed her clothes in a vain search for a flea crawling on her body. At this time Parisian shows such as the Moulin Rouge and Folies Bergere pioneered semi-nude dancing and tableaux vivants. One landmark was the appearance at the Moulin Rouge in 1907 of an actress called Germaine Aymos who entered dressed only in three very small shells. The Moulin Rouge was also the subject of paintings by post-impressionist painter Toulouse Lautrec.
The Casino de Paris is located at 16, Rue Clichy, in Paris. Among the many notable performers have been Josephine Baker, Mistinguett, and Gaby Deslys. I have not been able to find historical info in English. For those who read French, it can be found here under the Le Casino de Paris link at the top of the page:
Author : jane