ABSTRACT
This chapter specifically investigates performances of Salome, indeed, not just Wilde's or Strauss's Salome, but Salome as a cultural icon in fin-de-sicle society, whose appeal for ever new interpretations of the biblical story still endures. It focuses on specific performers of Salome from the period before World War One. The chapter drawn from musicology, comparative literature and film studies, builds on the critical mass already published to offer insights into Salome's appropriation across the arts of the late-nineteenth and twentieth century's. Performance as cultural practice its concern for historical and cultural specificity of individual performances gives rise also to performance as cultural process. Tristan Grnberg's opens the door to cinematographic portrayals of Salome who continues to fascinate the film world as actor/director Al Pacino showed in his Wilde Salom in 2011.
