ABSTRACT Japanese exhibits filled the 1900 Paris Exposition, from the official pavilion at the Trocadéro to ‘geishas' performing in the Panorama du Tour du Monde. The highlight for French reporters, however, was actress Sada Yacco's performances at the Théâtre Loïe Fuller on the rue de Paris. The former geisha joined American Fuller in creating original spectacles that captivated audiences not as Japanese ‘ethnography', as in other exhibits, but as ‘art’. This article draws attention to the rhetorical and commercial strategies used by these women to attract audiences to their own unique artistic performances of Japonisme, Western creations inspired by Japanese traditions.

中文翻译：

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在1900年世博会上使用适当的Japonisme：Sada Yacco，Loie Fuller和Le Panorama du Tour du Monde的“艺妓”

摘要日本展品充斥着1900年的巴黎世博会，从Trocadéro的官方展馆到在世界全景游中的“艺妓”表演。然而，法国记者的重头戏是女演员萨达·雅科（Sada Yacco）在巴黎大街上的勒阿勒·富勒剧院（ThéâtreLoïeFuller）的表演。这位前艺ish与富勒美国人（American Fuller）共同创造了新颖的眼镜，这种眼镜不仅吸引了日本的“民族志”，就像其他展览品一样吸引了观众，也吸引了他们的“艺术”。本文提请注意这些女性使用的修辞和商业策略，以吸引观众欣赏他们自己独特的Japonisme艺术表演，这是受日本传统启发的西方作品。