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351:. Making her second-act entrance, she shook out her skirts, which caught fire on a gaslight. The accident was avoidable: a method of fire-proofing costumes was available in this period, but Livry and most female performers of the period were opposed to it because it discolored and stiffened fabrics. In flames, she ran across the stage three times before she was caught and the fire extinguished with the help of firemen and other dancers. Her burns were more extensive than deep. She had clasped the burning fabric to her torso out of modesty.
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She suffered for months, yet remained opposed to fire-proofed skirts: "Yes, they are, as you say, less dangerous, but should I ever return to the stage, I would never think of wearing them – they are so ugly." In 1863, she was moved from her home in Paris to
Neuilly-sur-Seine. Her wounds re-opened
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Her face and breasts were undamaged. According to the doctor in attendance, her thighs, waist, back, shoulders and arms were burned, and her stays were burned on. She tried to pray. Taglioni, who was watching the rehearsal, rubbed make-up grease into her wounds in the mistaken belief that it would
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She studied dancing under Madame
Dominique and attended the Paris Opera School. Her career was promoted by her mother's lover at the time, Vicomte Ferdinand de Montguyon. On 19 October 1858, at the age of sixteen, she made her debut with the
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which has never been equalled – she bounds and leaps as no one else could do. She skims over the ground, the water and the flowers, apparently without touching them. Shims like feather and falls like a
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when she visited. Taglioni decided to stay on in Paris to teach the girl, who reminded her of herself as a young woman. She choreographed for Livry the title-role of
Farfalla (Butterfly) in
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She was so ethereal, and diaphanous, an intangible artist imperative, an artist with
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Livry was the illegitimate daughter of CĂ©lestine Emarot, a ballet dancer, and Baron
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Montguyon prevailed upon the director of the Opera to change the programme so that
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M. Quatrelles L'Epine, "Une danseuse française au XIXe siècle: Emma Livry",
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After a funeral at Notre Dame de
Lorette in Paris, she was buried in the
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On 15 November 1862, Livry was rehearsing the title role of
Fenella, a
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Bernard Vassor: Emma Livry, une histoire tragique à l'opéra
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The surviving scraps of her costume can be seen in the
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created a figurine of Livry in this role in bronze and
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Guest, Ivor, "Centenary: Emma Livry, 1842–1863", in
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467:Bulletin de la Société de l'Histoire du Théâtre
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69:Learn how and when to remove this message
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38:it lacks sufficient corresponding
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482:The Ballet Annual & Year Book
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16:French ballet dancer (1842-1863)
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541:Accidental deaths in France
506:Christina Towle: Emma Livry
460:Sources and further reading
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376:Cimetière de Montmartre
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434:which starred Livry.
348:La muette de Portici
307:Paul Smith wrote in
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193:Charles de Chassiron
426:Roger L. Williams,
551:Deaths from sepsis
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205:Jeanne Emma Emarot
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263:Salle Le Peletier
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110:. Paris, 1862
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284:La Sylphide
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51:introducing
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385:in Paris.
369:septicæmia
328:snowflake.
304:versions.
201:Emma Livry
157:Occupation
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85:Emma Livry
59:March 2015
34:references
227:Biography
213:ballerina
203:(born as
170:1858–1863
161:danseuse
99:Taglioni
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324:ballon
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302:bisque
252:Career
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