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Lucia Joyce
Lucia Anna Joyce (26 July 1907 Trieste - 12 December 1982 Northampton) was the daughter of Irish writer James Joyce and Nora Barnacle.
== Early life and career ==
Italian was her first language and the language in which she corresponded with her father. She first demonstrated her talent as a dancer after seeing Charlie Chaplin's ''The Kid'' in 1921: her party pieces became imitations of Napoleon and the little tramp.〔Bowker, Gordon (2011). ''James Joyce: A New Biography'', New York: Farrar, Straus and Giroux, 297.〕 She studied dancing from 1925 to 1929, training first with the Dalcroze Institute in Paris run by Jacques Dalcroze, followed by Margaret Morris (granddaughter of William Morris) in her school of modern dance, and later with Raymond Duncan (brother of Isadora Duncan) at his school near Salzburg.〔Bowker, 327.〕 She furthered her studies under Lois Hutton, Hélène Vanel, and Jean Borlin, lead dancer of the Ballet suédois.〔Shloss, Carol (2003). ''Lucia Joyce: To Dance in the Wake'', New York: Farrar, Straus and Girous, 140.〕 In 1927, she danced a short duet as a toy soldier in Jean Renoir’s film adaptation of Hans Christian Andersen's ''La Petite marchande d’allumettes (The Little Match Girl)''. In 1928, she joined "Les Six de rythme et couleur," a commune of six female dancers that were soon performing at venues in France, Austria, and Germany.〔Le Bihan, Adrien (2011). ''James Joyce travesti par trois clercs parisiens'', Paris: Cherche Bruit, 80.〕 Recognized as a professional dancer, she was profiled in the ''Paris Times'' after her performance in ''La Princesse Primitive'' at the Vieux-Colombier theatre. The article began: "Lucia Joyce is her father’s daughter. She has James Joyce’s enthusiasm, energy, and a not-yet-determined amount of his genius." Highlighting her choreography for ''Le Pont d’or'', and her skills as a linguist, costume designer, and creator of colour schemes and effects, the article concluded: "When she reaches her full capacity for rhythmic dancing, James Joyce may yet be known as his daughter’s father."〔Shloss, 6〕 On 28 May 1929, she was chosen as one of six finalists in the first international festival of dance in Paris held at the Bal Bullier. Although she did not win, the audience - which included her father and the young Samuel Beckett - championed her performance as outstanding and loudly protested the jury’s verdict.〔Knowlson, James (1996). ''Damned to Fame: the Life of Samuel Beckett'', London: Bloomsbury, 103-104.〕
After seven years’ training and nine dance schools in the anti-balletic style, she took up professional ballet instruction with Lubov Egorova, formerly of the Maryinsky Theatre in St. Petersburg, who was now based in Paris. Working six hours a day at the age of twenty-two when ballet dancers usually begin training at eight, she broke under the pressure and decided "she was not physically strong enough to be a dancer of any kind".〔(A Fire in the Brain ): The difficulties of being James Joyce’s daughter〕 Announcing she would become a Margaret Morris teacher, she then "turned down an offer to join a group in Darmstadt and effectively gave up dancing."〔(Brenda Maddox, ''A Mania for Insects'' ), review of Carol Shloss’s biography, ''Lucia Joyce, To Dance in the Wake''〕 Her biographer Carol Shloss, however, argues that it was her father who finally put an end to her dancing career. Joyce reasoned that the intense physical training for ballet caused her undue stress which in turn exacerbated the long-standing animosity between her and her mother, Nora. The resulting incessant domestic squabbles prevented work on ''Finnegans Wake''. Joyce convinced her she should turn to drawing lettrines to illustrate his prose and forgo her own deep-seated artistic inclinations.〔Shloss's argument summarized in Le Bihan, 80-81.〕 To his patron Harriet Shaw Weaver, Joyce wrote that this resulted in "a month of tears as she thinks she has thrown away three or four years of hard work and is sacrificing a talent".〔(Brenda Maddox, ''A Mania for Insects'' )〕
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