“Then I have gone wild over a new Spanish dancer — La belle Guerrero. She is quite a splendid creature: I go see her every night I am free. Carefully she is looked after (by M. Chocolat Menier!) I have had the chance of talking a little Spanish wither her: she is, as they all are in Spain, very nice and simple. I wish you were here to go and see her dance.”

Letter to Rhoda Bowser (later Symons) from Arthur Symons 6/29/1899

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“The Spanish dancer Guerrero is well built and delightfully cheerful. All in all, her act is too light to be more than entertaining. Technically speaking, the upper part of the body lacks mobility, it remains too stiff amidst the otherwise free flow of lines; the dance, as a result, sometimes gives the impression of skipping. The rhythm of the feet is particularly good.”

The Diaries of Paul Klee: Italian Diaries (October 1901 to May 1902) by Paul Klee

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“How the Beautiful Spanish Dancer, Guerrero, Outrivaled Otero”

Not a word of English, very little French, and a soft and liquid patois of the Sevillian, which is not comprehended in full by Castillian Spaniards, make Rosario Guerrero, the latest Spanish dancer to claim our applause, almost inaccessible to the interviewer.

But the pretty senorita has a maid who was born in Madrid, and can thus substitute for Sevillian words with there sever and dignified Spanish equivilants. She likewise has a valet, named Albert, who can translate Spanish (but not Sevillian) into French, and so an American who understands French can come within “hallooing" distance of “La Belle Guerrero."

Such a pretty woman she is, too, that one wants naturally to get a little closer than just near enough to halloo. After all, communication is not so hard, for Senorita Rosario is a trained pantomimist, and what she can't say in English, or French, or Spanish, she manages to convey by her wonderfully expressive gestures.

“Oh yes, I am truly senorita, not senora.” She replied to a question with a rich laugh and a gesture of amusement. “I am not so old, you comprehend, and I have been only five years on the stage.

“But I began dancing beofre then? Oh yes. I was born dancing — I think most Spanish girls are; it is in our blood. We love the old national dances, and I think they are more beautiful than the set figures of the dance of society. Don't you? They mean something. too; every step interperets a seguidilla or a malaguera. You don't know what the words mean? Oh! la, la! it would take too long to explain. They are the couplets of the poetry of the people of Seville or Malaga, our dances interperet their meaning.”

(The article continues but is missing)

Source and date unknown

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(Mlle Guerrero, the Spanish dancer who is causing a sensation in Paris at Present)

However, it is said that the last woman in Paris to raise a storm of admiration os Mlle. Guerrero, a spanish chanteuse and danseuse, and is promised to us next season. Mlle. Guerrero will have her own company, which is now being selected under the direct management of Edmund Gerson.

Saturday Standard 01/8/02

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(La Belle Guerrero, a Spanish Dancer at the Alhambra)

“La Belle Guerrero” By no means a stranger either to London audiences in general or to those of the Alhambra in particular is Señora Guerrero, to whom the title “La Belle” is peculiarly appropriate, for she has been most generously dowered by Nature with that beauty for which the women of Spain or Spanish birth are famous. Señora Guerrero was here three years ago, and created something of a sensation by her dancing, which has in it that peculiar distiction, coupled with allure, which gives to Spanish dancing its peculiar fascination. But for the fact that a series of Continental engagements prevented the possibility of her doing it, Señora Guerrero would long ago have been invited to return, as she did Monday last, to the Alhambra and keep up a tradition which is so intimately associated with its name. Señora Guerrero is as beautiful as ever, and, if possible, lighter and more graceful than ever, so that her dancing is literally the poetry of motion. Her stay is limited to four weeks, and then she returns to the Continent, where she has also made a great reputation by her pantomimic sketches.

The Sketch 9/3/02

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Few members of royalty or wives and daughters of millionaires can boast of the possession of as fine a collection of costly jewels as that of Signorina Rosano [sic] Guerrero, the famouse Spanish danseuse.

This fascinating Andalusian beauty has collected during his [sic] stage career no less than $300,000 worth of precious stones. She admits that she owns no real estate and has not much capital hidden in banks, but argues, nevertheless, that diamonds and other precious stones are the safest investment's for one's earnings. Real estate needs too much caretaking, she says, and panic may affect the best banks. In all her experience, she has seen but little change in the value of the diamonds, but rather a gradual increase, so that she can either procure a good loan on them or sell to advantage.

In the above picture she is shown as she appeared recently on the Paris stage wearing a diamond and sapphire necklace and some wonderful rings, which in all represent a value of $100,000.

Source and date unknown, probably circa 1903

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ROSARIO GUERRERO, WHO MAKES HER INITIAL BOW TO AMERICAN AUDIENCES IN “THE RED FEATHER” AT THE LYRIC

Miss Guerrero is said to be “the most beautiful woman in the world.” According to European standards this may or may not be tru; but that she is an accomplished pantomimist and dancer there is no gainsaying. The dances are actually little complete comedies in themselves for those who understand that sort of thing, one of them “The Rose and the Dagger”, expressive of all the passions and emotions dear to the Latin heart. As an important addition to the cast of “The Red Feather,” itself filled with excellent characters, Miss Guerrero's coming is timely and entertaining.

Broadway Weekly, date unknown, probably 1903

 

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SPANISH BEAUTY TO DANCE HERE

WHEN Senorita Rosario Guerrero, that Spanish dancing girl who arrived here from Europe yesterday, made her appearance on Broadway today, she was pronounced the handsomest woman who has come from abroad to go on the American stage this season.

With Anna Held the senorita was shown about the theatres. She has never been in this country before and she marvelled at the great crowds in the streets and the tremendous buildings. The senorita does not speak one word of English. She is a perfect Spanish type with great black eyes and hair. Her face is womanly and beautiful.

The Spanish girl was engaged by Florenz Ziegfeld   for the coming season. She will open in one of the Broadway houses and will do a pantomime in Carmen. Her dances are said to be something New York has never seen.

When Anna Held was stopped on Broadway today and asked who the good-looking Spanish girl was Miss Held laughed and said:

"I don't know that I will tell any one. I used to be the one looked at but it is different with this girl along. I will leave her at home in the future. I am afraid I have become jealous of her and I haven't  known her twelve hours."

The World (New York), October 21, 1903

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NOTES OF THE PLAYHOUSE

Rosario Guerrero, the Parisian actress who was engaged by Florenz Ziegfeld last Summer, is to take a part in "The Red Feather" next Tuesday night. She was intended for this part when the comic opera was first played, but she declined to accept it. Her refusal was due to her objection to sharing the honors of a star with Grace Van Studdiford, but now she has overcome her objections.

New York Times, November 14, 1903

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There are several distinct tendencies in solo dancing to-day, most notably the tendency toward the reproduction of national dances . . . Guerrero, the successor of Carmencita as best exemplar of the Spanish dancer, and Otéro, a good dancer for all her too pronounced personal notoriety, are leading exponents of the former tendency . . .

“Dancing and Pantomime” by Grace Isabel Colbron, The Cosmopolitan Magazine August 1904

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The return engagement of Senorita Rosario Guerrero is the result of a series of fortunate circumstances that has made it possible for the management to again secure her services and thereby meet the urgent appeals of numerous patrons who were so charmed with her grace and beauty last winter. Stage dancing has now reached the highest point of perfection, as is shown by such a fascinating artiste as Guerrero, who by silent posing and motion, intelligently leads her audience through all the minute details of a stirring story of Spanish life, clearly exhibiting the human passions, from wild admiration and greed to love, loathing and horror. The trend of the tale permits a dressing of the part quite Spanish in tone and coloring, but a veritable marvel of richness and beauty.”

Newspaper unknown—possibly Chicago, 1904

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SHERIFF SEIZES GUERRERO’S GOWN

Invades Dancer’s Chicago Hotel Apartments with a Writ Obtained by Ziegfeld

ALLEGED UNPAID DRAFTS FOR $535
(Special Dispatch to The Sunday Telegraph [New York])

Chicago , Oct. 1st — Rosario Guerrero, the Spanish music hall dancer, saw $12,000 worth of her gowns, costumes and laces seized by Deputy Sheriff Maher yesterday.

The actress, who is appearing at the Hyde & Behman’s music hall, screamed in protest at the invasion of her apartments at the Sherman House, but the deputy, sent to seize her property in satisfaction of an alleged debt of $535, paid no attention to her distress.

Maher read the writ, after which he demanded the keys of the trunks, which were finally produced.

He was about to call for a wagon with which to remove them when Miss Guerrero proposed that they leave the property in the hands of custodians with permission for the actress to remove what was necessary for her to use on the stage and in the meantime pay the amount due to Florenz Ziegfeld, Jr.

Ziegfeld had produced the writ for non-payment on two drafts on Paris banks.”

The Sunday Telegraph, New York, October 2, 1904

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Dancer in Search of Her Double

When Guerrero the First Meets Guerrero the Second Look Out for Trouble

SECOND COMES TO TOWN AGAIN

Something unpleasant will happen to a Rosario Guerrero when the two women bearing that same name meet. The Guerrero whom New York knows and learned to like at the New York Theatre Roof Garden last summer, promises this.

Among the passangers on the Kaiser Wilhelm II that came into port November 1 was a Spanish woman registered as “Rosario Guerrero” and resembling very closely the Spanish dancer. At the same time the original Guerrero was playing a vaudville engagement in Chicago.

The first light shed on the second edition of the Spanish pantomimist comes in a communication yesterday.

“I note,” writes Rosario Guerrero the First, “that this woman is again getting herself confused with me. When we meet I assure you that I will convince her of my identity, and teach her to understand her own.

“She applied to Mr. Jacobs, of the Lyric Theatre, for use of his stage so that she might rehearse a dance. He granted the request and then learned that I was in the West.

“She has followed me from place to place in Europe, our mail gets confused, and she has caused me no end of trouble.”

Guerrero the Second has been in New York before. She dresses very much like Guerrero the First, and the mistaken identity is a natural consequence.

Unknown source, 11/11/04

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Guerrero Finds Her Trunk

Disappeared when Hotel Logerot closed, and contained unusual $-$-$.

Rosario Guerrero was happy last night when she went on stage at Hammerstein’s. A long-lost trunk, said to contain $5,000 worth of diamonds, gowns and furs which she had left at the Hotel Logerot, had been found during the day.

Leaving the trunk in the care of the hotel, the dancer had gone West on tour about three months ago. When she returned a week ago, she found the Hotel Logerot was no more. Hess & Levy, the proprietors, had sold the effects and the place was plastered with “To Let” signs. The search for the trunk ended yesterday when it was found with its contents intact in a storage warehouse accredited to the dancer.”

Newspaper unkown, November 22, 1904

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Rosario Guerrero: “She loves America because she got a big salary for dancing here. America rather liked Guerrero too. Arrangements are now underway by which Guerrero will be enabled to like America some more.”

The Standard/Vanity Fair, June 23, 1905

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Once more starts the rumor that Guerrero will dance in America, in spite of Klaw & Erlanger, who, according to Mrs. Fiske, have sworn to prevent it. Once more Klaw & Erlanger smile.

The nimble Spanish dancer is planning to come again to New York and defy the Theatrical Trust, which, it was asserted, had sworn by all nine gods, that she would never have booking here again. Rosario, however, said the Spanish equivalent to “Pouf!” and added "I will come again when I choose, and I will dance on the body of the Theatrical Trust, so there.” Carumba!

The Standard/Vanity Fair, May 18, 1906

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Fritz August von Kaulbach, with whose name is associated the striking study of feminine beauty, "Rosario Guerrero," belongs to a family of painters who for several generations have had a prominent share in German art annals. He was largely trained by his father, a distinguished portrait-painter of his day, although the Nuremberg Academy also claims some part in the cultivation of a talent which has been chiefly devoted to the portraying of beautiful femininity, albeit it has been mostly of the saintly style of Cecilia rather than the vivacious and sprightly embodied in "Rosario Guerrero." Besides that which he has chosen for reproduction in this Magazine, Herr von Kaulbach has produced another version of the "Guerrero"; painted as a dancer she is, in this other version, more daring and less conventional, but hardly more beautiful. Both pictures have become very popular in Germany—in this case the painter's taste apparently coincides with that of his public. The artist, who is in his fifty-sixth year, is very fond of the Sunny South, and it was in the Sunny South, I believe, that he found his model for the "Guerrero" pictures.

My Best Picture The Strand Magazine, v31 1906

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Rosario Guerrero, she of “ze kick, ze wink, ze whoo-la-la”, will not be able to revisit our hospitable shores until next year. She expected to come to America as soon as she had been rid of some superfluous plumpness in Carlsbad, but evidently looked with favor on an offer she received in Germany, for she is now in the midst of a long run at the Hansa Theatre in Hamburg.

source unknown, 03/08/07 (probably the New York Telegraph)

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“’What about Guerrero’s Orpheum time?’ was the question often put this week by those who know Rosario Guerrero, engaged by William Morris to open on the American Roof next Monday, also has a contract calling for the Orpheum Circuit next season.

It is reported that Guerrero’s contract with the Orpheum is somewhat different from the that circuit’s usual agreement with artists, and will be more difficult to break should the Orpheum Circuit wish to abide by its “barring” manifesto not to play acts on the Morris time first.

The contracts for the western time, signed by Guerrero through the Marinelli office, are for twenty-five weeks, commencing August 2, at $60 weekly. Prior to her opening date on the Orpheum Circuit, one week (July 20) at the Fifth Avenue has been held open for the foreigner.

Guerrero arrives today (Saturday) on the Augustin Victoria.”

Variety, June 26, 1909

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Rosario Guerrero, who has not been seen in San Francisco for three years is an attraction billed for appearance shortly at the Orpheum.

San Francisco Call September 12, 1909

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“Orpheum Headliner is Great”

. . .When Rosario Guerrero finished with her wonderful pantomimic play, she got a “hand” that stopped the intermission. . .Guerrero comes a stranger, but well heralded. . .

But the wonderful pantomimic powers of both performers startled and gripped all who saw them. She cajoled that bandit, won him in spite of himself, and danced for him in the voluptuous measures of old Castille. This was no parlour Spanish terpsichorean excercise; it was real, palpitating, fascinating. Guerrero is a thorough artiste, whether she dance or act, and Paglieri, her assistant, is not less so. The act is a novelty, and well worth of high honors.

Los Angeles review of “The Rose and the Bandit” 10/19/09

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Orpheum Circuit Theatre program for the week of December 19, 1909 from St. Paul, Minn. Program #8 proclaims:

Senora Rosario Guerrero
Assisted by Sig. L. Paglieri,
Presenting

“THE ROSE AND THE DAGGER”
A Fantastic Pantomime in One Act.

SYNOPSIS

A terrible storm is raging ‘round a solitary hut, where a bandit is sitting alone. A dancer (Guerrero), returning from a ball, begs him to afford her shelter during the storm. The bandit is churlish enough to refuse her this trifling service and drivers her out. She prays him to give her but a drink of water, and the bandit, relenting, pours her out a glass of wine. While in the act of drinking she unfortunately permits him to catch a glimpse of her diamond ring.

The storm having now abated, the lady essays to continue her journey, but the cupidity of the bandit has been aroused and he bars her exit. She is greatly alarmed and offers the man money which he rejects and demands her ring.

She sees now that she has been trapped and gives way to despair. Suddenly and idea strikes her. At the instant the bandit draws his dagger to stab her, she releases her cloak and the susceptible bandit is bewitched by the sight of so much loveliness and stays his hand. The woman now wields all her arts of coquetry and flattery. She tells him that she loves him and, as proof, is willing to dance purely for his amusement. The bandit is now thoroughly in the toils and is easily persuaded to exchange his dagger for her rose by the slender pretext that the knife frightens her. The dagger secured, she attempts flight, and then begins a struggle between them for mastery, ending by the woman stabbing the bandit to the heart and escaping.

“Rosario Guerrero, who has not played in Paris for four years, opened at the Marigny August 16, in a sketch “Le Couteau el La Rose” which has been introduced into the revue. The main interest in the new act is the Tango Dance by Guerrero. This pretty woman, however, has become quite plump, and resembled somewhat Otero’s appearance two years ago. She was ably supported by her husband, and the “oriental” sketch went fairly well. ... ”

Variety, September 2, 1911

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Guerrero is perhaps a more impassioned dancer that La Tortajada, but she has strayed even further from the purity of the Spanish dance. At the Marigny Theatre in Paris, she has this summer been dancing a new and startling dance called the Tango. It is a curious mixture of composure and frenzy, and at first acquaintance seems full of complications. Her rendering of it is said to take away the breath of the English and American tourists who fill the popular music-hall among the chestnuts of the Champs Elysée.”

J. Crawford Flitch Modern Dancing and Dancers 1911/1912

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