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"The Call of Salome": American Adaptations and Re-creations of the Female Body in the Early Twentieth Century

"The Call of Salome": American Adaptations and Re-creations of the Female Body in the Early... "The Call of Salome" American Adaptations and Re-creations of the Female Body in the Early Twentieth Century Mary Simonson t is announced on good authority," a New York Times writer joked in August 1908, "that the management at the New Amsterdam Theater has been exceptionally active in guarding against outbreaks of Salomania among members of the company. As soon as any chorus girl shows the first symptoms of the disease, she is at once enveloped in a fur coat--the most efficacious safeguard known against the Salome dance--and hurriedly isolated." The Salome jokes continued. "It is rumored," he reported, tongue in cheek, "that Oscar Hammerstein will introduce the `Salome' dance into every opera to be given by him at the Manhattan Opera House next season. . . . As soon as he got the idea he at once called an expert play tinkerer and gave him, as a starter, the libretto of Götterdämmerung with strict instructions to insert the Salome dance in an artistic and convincing manner."1 Today, Salome is a familiar figure: she is everybody's favorite bad girl, the original dancing vamp, a launchpad for discussions of late-nineteenth- and early-twentieth-century insecurities and fascinations with women, national identity, imperialism, http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Women and Music: A Journal of Gender and Culture University of Nebraska Press

"The Call of Salome": American Adaptations and Re-creations of the Female Body in the Early Twentieth Century

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Publisher
University of Nebraska Press
Copyright
Copyright © 2007 by the International Alliance for Women in Music.
ISSN
1553-0612
Publisher site
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Abstract

"The Call of Salome" American Adaptations and Re-creations of the Female Body in the Early Twentieth Century Mary Simonson t is announced on good authority," a New York Times writer joked in August 1908, "that the management at the New Amsterdam Theater has been exceptionally active in guarding against outbreaks of Salomania among members of the company. As soon as any chorus girl shows the first symptoms of the disease, she is at once enveloped in a fur coat--the most efficacious safeguard known against the Salome dance--and hurriedly isolated." The Salome jokes continued. "It is rumored," he reported, tongue in cheek, "that Oscar Hammerstein will introduce the `Salome' dance into every opera to be given by him at the Manhattan Opera House next season. . . . As soon as he got the idea he at once called an expert play tinkerer and gave him, as a starter, the libretto of Götterdämmerung with strict instructions to insert the Salome dance in an artistic and convincing manner."1 Today, Salome is a familiar figure: she is everybody's favorite bad girl, the original dancing vamp, a launchpad for discussions of late-nineteenth- and early-twentieth-century insecurities and fascinations with women, national identity, imperialism,

Journal

Women and Music: A Journal of Gender and CultureUniversity of Nebraska Press

Published: Oct 30, 2007

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