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Fishnets & Desire: Performing the Neoburlesque

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FISHNETS & DESIRE: PERFORMING THE NEOBURLESQUE by Jessica Thorp, Ryerson University B.A. Ryerson University, Toronto ON, 2009 A thesis Presented to Ryerson University and York University in partial fulfilment of the degree of Master of Arts in the program of Communication and Culture Toronto, Ontario, Canada, 2012 © Jessica Thorp, 2012 ii Q Acknowledgements E I wish to thank the following individuals for their assistance with this project and paper, first and foremost, my academic advisors Shannon Bell and lzabella Pruska-Oldenhof for their I guidance, critical feedback, and enthusiasm for this project. My academic and artistic I development throughout the past year was greatly shaped by their encouragement and oversight. You both challenged, and inspired me to reach further and dig deeper. ~ For sharing their technical expertise and time in the creation of this project, I am greatly I indebted to Caitlin Blain, Kristin Sweetland, Cassandra Polley, Alex Gomicki and Sabrina I Scott. Dani Vulnavia, my wonderful costume designer, is also owed a great deal of thanks for helping me realize the aesthetic of the performance component of my project. I An extra special thanks goes to Rochelle Holt, the owner and curator of the Fleishman I Gallery for all of the encouragement, unconditional support, and invaluable feedback throughout this entire process. I, I I I [ I I I I U I III I Abstract I FISHNETS & DESIRE: PERFORMING THE NEOBURLESQUE Master of Arts, August 2012 I Jessica Thorp I Join Program in Communication and Culture, Ryerson University & York University I Fishnets & Desire: Performing the Neoburlesque is a reflection upon the art I installation and performance piece of the same name, and reflects upon neoburlesque performance genre, through the lens of the author's primary research of creating these works. I Written as a piece of performative scholarship, this paper outlines the creative process of the I author's project, and the theatrical history, theory, and methodology behind it. Fishnets & Desire is a reflection of performance and queer theories, meditating upon the specific art I forms of burlesque striptease and drag, and how they enact gender performativity. I Neoburlesque is a tongue-in-cheek and satirical form of expression, which lampoons gender stereotypes, and societal expectations. The current art form draws upon cultural nostalgia for I the kitsch of burlesque striptease that was performed in theatres, and gentleman's clubs from the 1920s-60s. Through the use of comedic exaggeration and hyperbolic gender presentation, I burlesque seeks to undermine conventional notions of femininity, and deconstruct them. The I author's performance piece also sought to engage with the energetic relationship between the audience and the burlesque performer's reciprocal gaze; and neoburlesque as a genre of I carnivalesque spectacle. As an integration of live performance, projected video, and I photography, Fishnets & Desire created a space in which the audience simultaneously experienced the feeling of being on stage, as well as actively watched (and thus, participating I in) a burlesque striptease. I I iv I I Table of Contents I Acknowledgements ii I Abstract iii I Exhilaration 1 I 2 Body of Work 1 I 3 Doubt and Surrender 4 4 Conceptualizing Burlesque 8 I 5 Fishnets & Desire 15 I 6 Ritual and (Trans)formations 17 7 Gender, Drag and Female-female impersonation 18 I 8 Camivalesque 24 I 9 Reciprocal Gazes 27 10 Creative Processes and Products 29 I 11 Conclusions 40 I Bibliography 43 I Appendix: Images 45 DVD of Fishnets & Desire 51 I I I I I I I 1. Exhilaration I There are only two moments I distinctly remember and those are what framed the I performance. I remember walking into the gallery space, and in the next moment I can remember feeling in my own skin, I was walking out again. The performance that occurred I between those two moments can only be described as an entirely depersonalized, out of I body experience. Muscle memory took over as I danced and I was floating somewhere at the top ofthe room looking down on myself performing, along with both of the audiences the I one projected behind me and the live one which was present in the gallery space. I As I entered the gallery's office and shut the door I found myself softly shaking. I I thought to myself: did that really just happen? The fact that I was stripped down to fringed panties, rhinestone nipple pasties and 5-inch high heels would seem to suggest so, as would I the pair of ostrich feather fans that I held in my hands. I was hit with a sudden rush of pure I bliss and outpouring of love and support from my peers, my friends and even complete strangers the likes of which I'd never experienced before. There is usually a post I performance rush, but nowhere near this-this was untouchable, no other performance up to I this moment had such a huge high or endorphin rush associated with it. Bliss. I 2. Body of\Vork I The performance and installation piece I created for my MA project is entitled Fishnets & I Desire: Performing the Neoburlesque and it was first mounted at the Fleishman Gallery I from May 4-25,2012. The project consists of four self-portrait photographic prints on cotton vellum (two of which are life-size and the other two are approximately Y4 scale), a video I I 2 1 collage projection, set dressing, and a neoburlesque style live perfonnance. The tangible ] parts of this project's various components were mostly realized through my own effort, with I some technical support and assistance from the individuals noted in the acknowledgements. However, I should make special note of Dani Vulnavia's costume designs, which were the 1 result of a collaborative process based upon my overall artistic vision for this project. 1 Fishnets & Desire: Performing the Neoburlesque is the culmination and marriage of my academic work over the past two years, and my passion for perfonning burlesque. The II creation of this project was largely infonned by my readings of cultural and feminist theory, I as well my on-going perfonnances of burlesque throughout the creative and writing processes, and additional academic guidance from my professors. It was additionally I infonned by a number of non-academic sources on the topic of burlesque, and views written I or expressed in secondary sources by some of the perfonners I admire most. For the exhibition, my series of self-portrait photos were suspended from the ceiling 1 using fishing line and transparent poster spines, and hung between 1.5-3 feet from the wall, I so they were surrounding the perimeter of the room, with one positioned roughly in each corner. The ga]]ery entrance faces North, so this meant a photo in each the NW, NE, SE and 'I l SW corners ofthe space . I The majority of the south facing waH was taken up by the projection screen, which was framed by red velvet stage curtains. The video, a collage of stock footage of various I audience reactions from the 1950s, began to play for the first time with my dance I performance, and continued to play on a loop throughout the remainder of the opening and for the duration of the exhibition's run. The soundtrack to the video, which is also the music I I 1 Please see the appendix to see the images. I I I 3 I I performed to, remained on loop with the video for the duration of the exhibition. I selected I two contemporary jazz songs by independent musicians, both of which are performed in upbeat vintage-inspired styles, but the lyrics are ripe with allusions to seduction, financial I desperation, and unrepentant hedonism. The first song "Why oh Why" was written by an old I friend, Infamous Bajcar, and was recorded by his band The Grim Preachers. The second song "Devil with the Devil" by The Underscore Orchestra, I came across online while I specifically searching for Creative Commons licensed music to use for this project. I This project's overarching themes were formed through praxis, in so far as rehearsing and performing of neoburlesque, for the last several years have been integral to my formulation I of theory around it. The broad themes I wanted to address with this project include: I gender representation and satire in neoburlesque - particularly the high femme burlesque I performer as an enactor of hyper femininity as a kind of female-female impersonator; neoburlesque parodying gender as a mode of carnivalesque; and the energetic relationship I between the audience's gaze, and the burlesque stripper's reciprocal gaze. Taking these I general concepts into consideration, it was my intention to create a multifaceted creative performance and art installation. I The performance I created for the gallery opening reception drew upon elements of I previously performed acts, but was new choreography designed with the spatial components of the installation specifically in mind. This paper is a reflection upon the entire process of I this project, from its inception through attempting (the admittedly difficult task of) I addressing my own artwork and performance in a scholarly manner. My aim throughout this process has been to critically engage with, and to interrogate burlesque from the specific I standpoint of performance and queer theory, meditating upon burlesque striptease as an I I 4 empowering, subversive feminist act. Through my research and practice of this art form, I have come to understand burlesque as a satire of gender and sexuality, and thus opens up the possibility of deconstructing and subverting societal expectations on those issues.
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