The dancer Mademoiselle Mercédès performed in the most important music halls of the Parisian Belle Époque, such as the Folies-Bergère and the Olympia. Her exotic pseudonym reflects the Hispanophilia of this period in France, but she was neither a Spanish dancer nor a native imitator. On the contrary, she displayed great versatility as a dancer and actively participated in the transition to modernity with the dancer Loïe Fuller and the choreographer Madame Mariquita. However, who is behind this artist's name? This research reveals that at least three women used this nickname and only one of them has been previously identified: Julienne Mathieu (1874–1943), who, after her stage career, became one of the most prolific actresses in early cinema. This case study explores the implications of using a pseudonym by a secondary figure in the dance world in fin-de-siècle Paris.

中文翻译：

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梅塞德斯小姐总是朱利安·马蒂厄吗？使用艺名重建巴黎美好时代音乐厅舞者职业生涯的挑战

舞者Mademoiselle Mercédès 曾在巴黎美好年代最重要的音乐厅演出，例如Folies-Bergère 和Olympia。她充满异域风情的笔名反映了这一时期法国的西班牙文化，但她既不是西班牙舞者，也不是本土模仿者。相反，她表现出了作为一名舞蹈家的多才多艺，并与舞蹈家洛伊·富勒和编舞家马里奎塔夫人一起积极参与了向现代性的转变。然而，这位艺术家的名字背后是谁呢？这项研究表明，至少有三位女性使用过这个绰号，其中只有一位此前已被确认：朱利安·马蒂厄（Julienne Mathieu，1874-1943 年），她在舞台生涯结束后成为早期电影界最多产的女演员之一。本案例研究探讨了世纪末巴黎舞蹈界的次要人物使用笔名的影响。