Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Through detailed profiles of iconic neo-burlesque performers. this book makes the case for understanding neo-burlesque as a new sexual revolution. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.
Lynn Sally offers an inside look at the history, culture, and philosophy of New York’s neo-burlesque scene. Through detailed profiles of iconic neo-burlesque performers. this book makes the case for understanding neo-burlesque as a new sexual revolution. Raising important questions about what feminism looks like, Neo-Burlesque celebrates a revolutionary performing art and participatory culture whose acts have political reverberations, both onstage and off.
LYNN SALLY is a practicing scholar and artist. She received her PhD in Performance Studies from New York University where she has taught burlesque since 2004. Her research focuses on American lowbrow popular culture and entertainment, and her previous publications include the book Fighting the Flames: The Spectacular Performance of Fire at Coney Island. www.lynnsally.com
Inhaltsangabe
Preface: Revelations and Disidentification Introduction: Definitions and Methodologies 1 Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 2 Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 3 Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 4 Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 5 Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 6 Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 7 Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz Conclusion: Nasty Women and Female Chauvinist Pigs Acknowledgments Notes Bibliography Index
Preface: Revelations and Disidentification Introduction: Definitions and Methodologies 1 Burlesque as Popular Performance: MsTickle’s Explicit Body as Palimpsest 2 Burlesque as Monster/Beauty: Beautiful Monsters and the Monstrosity of Beauty in Dita Von Teese 3 Burlesque as Unruly: Dirty Martini and the Political Efficacy of an Invisible Wink 4 Burlesque as Pretty/Funny: The Comedic Stylings of Little Brooklyn’s Burlesquing Burlesque 5 Burlesque as Parodic Pageantry: The Agitprop Theatrics of Bambi the Mermaid’s Miss Coney Island Pageant 6 Burlesque as Camp: Gender Becoming in World Famous *BOB*’s “One Man Show” 7 Burlesque as Revolution: The Ridiculous Theatre of Julie Atlas Muz Conclusion: Nasty Women and Female Chauvinist Pigs Acknowledgments Notes Bibliography Index
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