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Fuller, Loie (1862-1928), American dancer, actor, producer, and playwright, who concentrated on visual effects in her dances. Born in Fullersburg, Illinois, she acted professionally as a child and was self-taught as a dancer. Performing mainly in Europe, she composed about 130 dances, including solos and works for her troupe. The subject of portraits by French artists Henri de Toulouse-Lautrec and Auguste Rodin, she was honored by French scientists for her theories of artistic lighting.

b. Jan. 15, 1862, Fullersburg [now part of Hinsdale], Ill., U.S.
d. Jan. 1, 1928, Paris, France

original name MARIE LOUISE FULLER American dancer who achieved  international distinction for her innovations in theatrical lighting, as  well as for her invention of the "Serpentine Dance," a striking variation on the popular "skirt dances" of the day.

Fuller made her stage debut in Chicago at the age of four, and over the next quarter century she toured with stock companies, burlesque shows, vaudeville, and Buffalo Bill's Wild West Show, gave  temperance lectures and Shakespearean readings, and appeared in a variety of plays in Chicago and New York City.

 A popular if not authenticated explanation of the origin of Fuller's innovative dances claims that, while rehearsing Quack, M.D. (produced 1891), Fuller was inspired by the billowing folds of transparent China silk. She began experimenting with varying lengths of silk and different coloured lighting and gradually evolved her "Serpentine Dance," which she first presented in New York in February 1892. Later in the year she traveled to Europe and in October opened at the Folies Bergère in her "Fire Dance," in which she danced on glass illuminated from below. She quickly became the toast of avant-garde Paris. Henri de Toulouse-Lautrec, Auguste Rodin, and Jules Chéret used her as a subject, several writers dedicated works to her, and daring society women sought her out. She lived and worked mainly in Europe thereafter. Her later experiments in stage lighting, a field in which her influence was deeper and more lasting than in choreography, included the use of phosphorescent materials and silhouette techniques.

In 1908 Fuller published a memoir, Quinze ans de ma vie, to which writer and critic Anatole France contributed an introduction; it was published in English translation as Fifteen Years of a Dancer's Life in 1913. After World War I she danced infrequently, but from her school in Paris she sent out touring dance companies to all parts of Europe. In 1926 she last visited the United States, in company with her friend Queen Marie of Romania. Fuller's final stage appearance was her "Shadow Ballet" in London in 1927.

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