scholarly journals Fishnets & desire: performing the neoburlesque

2021 ◽  
Author(s):  
Jessica Thorp
Keyword(s):  
Gender Stereotypes ◽  
Creative Process ◽  
Live Performance ◽  
Primary Research ◽  
Gender Performativity ◽  
Art Installation ◽  
Art Form ◽  
And Performance ◽  
Gender Presentation ◽  
Societal Expectations

Fishnets & Desire: Performing the Neoburlesque is a reflection upon the art 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. Written as a piece of per formative scholarship, this paper outlines the creative process of the 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 forms of burlesque striptease and drag, and how they enact gender performativity. 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 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, burlesque seeks to undermine conventional notions of femininity, and deconstruct them. The 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 carnivalesque spectacle. As an integration of live performance, projected video, and 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 in) a burlesque striptease.

scholarly journals Fishnets & desire: performing the neoburlesque

2021 ◽  
Author(s):  
Jessica Thorp
Keyword(s):  
Gender Stereotypes ◽  
Creative Process ◽  
Live Performance ◽  
Primary Research ◽  
Gender Performativity ◽  
Art Installation ◽  
Art Form ◽  
And Performance ◽  
Gender Presentation ◽  
Societal Expectations

Fishnets & Desire: Performing the Neoburlesque is a reflection upon the art 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. Written as a piece of per formative scholarship, this paper outlines the creative process of the 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 forms of burlesque striptease and drag, and how they enact gender performativity. 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 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, burlesque seeks to undermine conventional notions of femininity, and deconstruct them. The 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 carnivalesque spectacle. As an integration of live performance, projected video, and 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 in) a burlesque striptease.

On self-extraction

2021 ◽  
Vol 12 (1) ◽  
pp. 11-28 ◽  
Author(s):  
Nevarez Encinias
Keyword(s):  
Live Performance ◽  
Art Form ◽  
And Performance ◽  
At Home

Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.

scholarly journals Screendance for Adult Dancers:

10.29173/mm12 ◽  
2021 ◽  
pp. 61-75
Author(s):  
Emily Noton
Keyword(s):  
Creative Process ◽  
Technology Use ◽  
Contemporary Dance ◽  
Live Performance ◽  
Limited Budget ◽  
Art Form ◽  
Field Notes ◽  
Choreographic Process

The purpose of this research creation project was to engage in and analyze a process of creating a digital contemporary dance composition. To do this, the researcher completed a choreographic process with a video component for a live performance at a theatre. Observational field notes were collected and analyzed through an interpretive lens to identify the unique challenges that arose during this process. The findings provide insights into the choreographic process, the challenges of navigating technology use within a limited budget, and the uncertainty inherent in a creative process. Furthermore, the project sought to provide an alternative to the weekly technique class in order to further engage adults and the audience in the art form.  

Untold stories: Jamaican transnational mothers in New York City

2018 ◽  
Vol 7 (4) ◽  
pp. 409-432
Author(s):  
Derrace Garfield McCallum
Keyword(s):  
New York ◽  
New York City ◽  
Gender Stereotypes ◽  
York City ◽  
Cultural Norms ◽  
Transnational Mothers ◽  
Women's Lives ◽  
International Labour Migration ◽  
And Migration ◽  
Societal Expectations

AbstractGlobalization and contemporary international labour migration continue to transform women’s lives. Moreover, gender stereotypes, biased cultural norms, biological responsibilities and economic marginalization serve to constrain women disproportionately, particularly mothers. Indeed, globalization and migration increases existing pressures associated with motherhood. They intensify societal expectations of women, and often result in extreme distress. Many transnational mothers suffer in silence with little or no chance to share their stories and be heard. This study explores the experiences of Jamaican transnational mothers in New York City and documents their stories in light of current research which investigates how transnational motherhood transgresses gender stereotypes and pushes the boundaries of gender roles and expectations. The stories shared in this paper vividly capture the women’s narratives of loss, longing, empowerment and shared responsibilities across borders.

Multi-ethnic Girls' Social Positional Identities in Educational Transitions

2020 ◽  
Vol 13 (1) ◽  
pp. 83-100
Author(s):  
Solveig Roth ◽  
Dagny Stuedahl
Keyword(s):  
Case History ◽  
Figured Worlds ◽  
Educational Transitions ◽  
Gender Performativity ◽  
Upper Secondary ◽  
History Of ◽  
Life Trajectory ◽  
Ethnic Students ◽  
Societal Expectations ◽  
Gendered Expectations

In this article, we examine the case history of a young multi-ethnic Norwegian girl, whom we call Anna, from the age of 15 to 17 to show how her self-understanding of positionings within her educational transitions illustrates how gendered expectations in a Norwegian context influence girls’ future trajectories. We use the concepts of social positional identities in figured worlds and performativity to explore self-understanding. Anna’s case history illustrates how gender performativity comes about out of a complex web of family, school, and societal expectations. We discuss the tensions Anna experienced in her educational trajectory and the changes in her performative positioning when she entered upper secondary school. We consider the ways in which this had implications for her future life trajectory and offer suggestions to educators on how to understand and support the different learning trajectories of multi-ethnic students.

A Conversation on Directing Opera

2021 ◽  
Vol 37 (3) ◽  
pp. 246-255
Author(s):  
Katie Mitchell ◽  
Mario Frendo
Keyword(s):  
Performing Arts ◽  
Musical Score ◽  
Senior Lecturer ◽  
Contemporary World ◽  
Art Form ◽  
Don Giovanni ◽  
National Opera ◽  
Dramatic Text ◽  
Theatre Studies ◽  
And Performance

Katie Mitchell has been directing opera since 1996, when she debuted on the operatic stage with Mozart and Da Ponte’s Don Giovanni at the Welsh National Opera. Since then, she has directed more than twenty-nine operas in major opera houses around the world. Mitchell here speaks of her directorial approach when working with the genre, addressing various aspects of interest for those who want a better grasp of the dynamics of opera-making in the twenty-first century. Ranging from the director’s imprint, or signature on the work they put on the stage, to the relationships forged with people running opera institutions, Mitchell reflects on her experiences when staging opera productions. She sheds light on some fundamental differences between theatre-making and opera production, including the issue of text – the libretto, the dramatic text, and the musical score – and the very basic fact that in opera a director is working with singers, that is, with musicians whose attitude and behaviour on stage is necessarily different from that of actors in the theatre. Running throughout the conversation is Mitchell’s commitment to ensure that young and contemporary audiences do not see opera as a museum artefact but as a living performative experience that resonates with the aesthetics and political imperatives of our contemporary world. She speaks of the uncompromising political imperatives that remain central to her work ethic, even if this means deserting a project before it starts, and reflects on her long-term working relations with opera institutions that are open to new and alternative approaches to opera-making strategies. Mitchell underlines her respect for the specific rules of an art form that, because of its collaborative nature, must allow more space for theatre-makers to venture within its complex performative paths if it wants to secure a place in the future. Mario Frendo is Senior Lecturer of Theatre and Performance and Head of the Department of Theatre Studies at the School of Performing Arts, University of Malta, where he is the director of CaP, a research group focusing on the links between culture and performance.

scholarly journals Performing with Plants in the Ob-scene Anthropocene

2020 ◽  
Vol 32 (1) ◽  
pp. 121-142
Author(s):  
Annette Arlander
Keyword(s):  
Performance Analysis ◽  
Performance Art ◽  
Performance Studies ◽  
Research Project ◽  
Performance Practices ◽  
Art Form ◽  
And Performance ◽  
Performance As Research ◽  
Artistic Research

Is there a way for the anthropocentric and anthropomorphic art form par excellence, the theatre, or performance art for that matter, to expand beyond their human and humanist bias? Is the term Anthropocene in any way useful for theatre and performance studies or performance-as-research? In the anthology Anthropocene Feminism (Grusin 2017) Rosi Braidotti proposes four theses for a posthumanist feminism: 1) feminism is not a humanism, 2) anthropos is off-center, 3) zoe is the ruling principle, 4) sexuality is a force beyond gender. These assertions can undoubtedly be put on stage, but do they have relevance for developing or understanding performance practices off-stage and off-center, such as those trying to explore alternative ways and sites of performing, like performing with plants? In this text, I examine Braidotti’s affirmative theses and explore their usefulness with regard to performance analysis, use some of my experiments in the artistic research project “Performing with plants” as examples, and consider what the implications and possible uses of these theses are for our understanding of performances with other-than-human entities, which we share our planet with.

The Multimedia Bard: Plugged and Unplugged

1998 ◽  
Vol 14 (53) ◽  
pp. 20-42 ◽  
Author(s):  
Lizbeth Goodman ◽  
Tony Coe ◽  
Huw Williams
Keyword(s):  
New Technologies ◽  
Interactive Media ◽  
Open University ◽  
Live Performance ◽  
Research Project ◽  
Moving Image ◽  
Multimedia Technologies ◽  
And Performance ◽  
Multimedia Performance ◽  
The Relationship

The relationship between live theatre and the rapidly developing multimedia technologies has been ambiguous and uneasy, both in the practical and the academic arena. Many have argued that such technologies put the theatre and other live arts at risk, while others have seen them as a means of preserving the elusive traces of live performance, making current work accessible to future generations of artists and scholars. A few performance and production teams have entered the fray, deliberately pushing the technology to its limits to see how useful it may (or may not) be in dealing with the theatre. One such team – comprising Lizbeth Goodman, Tony Coe, and Huw Williams – forms the Open University BBC's Multimedia Shakespeare Research Project, and on 4 September 1997 they presented their work as the annual BFI Lecture at the Museum of the Moving Image on London's South Bank. What follows is an edited and updated transcript of the lecture – which was itself a ‘multimedia performance’ – intended to spark debate about the possibilities and limitations of using multimedia in creating and preserving ‘live’ theatre. Lizbeth Goodman is Lecturer in Literature at the Open University, where she chairs both the Shakespeare Multimedia Research Project and the new ‘Shakespeare: Text and Performance’ course. Tony Coe is Senior Producer at the OU/BBC, where Huw Williams was formerly attached to the Interactive Media Centre, before becoming Director of Createc for the National Film School, and subsequently Director of Broadcast Solutions, London. Together the team has created a range of multimedia CD-ROMs designed to test the limits and possibilities of new technologies for theatre and other live art forms – beginning with Shakespeare

From the Streets to the Stage: Disability and the Performing Arts

PMLA ◽  
2005 ◽  
Vol 120 (2) ◽  
pp. 620-625 ◽  
Author(s):  
Carrie Sandahl
Keyword(s):  
Lived Experience ◽  
Performing Arts ◽  
Liberal Arts ◽  
Theory And Practice ◽  
Live Performance ◽  
Artistic Practice ◽  
Theater Studies ◽  
Suitable Site ◽  
And Performance ◽  
The University

Despite its newness, disability-theater studies is an incredibly rich area of inquiry that is exploding in artistic practice and scholarship. The university is a particularly suitable site for a meeting of disability and the theater; after all, we theater scholars think of our classrooms and productions as laboratories not only for showcasing knowledge but for producing, rehearsing, and revising it. As the theater scholar Jill Dolan points out, live performance, especially in the liberal arts setting, has the unique power to test, on bodies willing to try them, academic theories that are otherwise purely theoretical. The feedback loop that oscillates between theory and practice in theater studies is necessarily changed by the inclusion of disability perspectives in the classroom, research programs, and performance offerings. Interestingly, an underlying theme of disability perspectives is that the lived experience of disability is always already performative; indeed, many of us with disabilities understand our disabilities as performance, not exclusively in an aesthetic or theoretical sense, but as an actual mode of living in the world. Consider what the playwright and wheelchair user John Belluso told me in a recent interview: “Any time I get on a public bus, I feel like it's a moment of theater. I'm lifted, the stage is moving up, and I enter, and people are along the lines, and they're turning and looking, and I make my entrance. It's theater, and I have to perform. And I feel like we as disabled people are constantly onstage and we're constantly performing.” The perspective of disability as performance undergirds and permeates disability art and scholarship. Thus, my own development as a disability-theater scholar and artist frames my perception of how disability challenges both the practical and the theoretical aspects of theater studies and points to the role universities play in fostering further development of the field.

Film and Performance: Intermedial Intersections

2021 ◽  
pp. 11-22
Author(s):  
Stephen Barber
Keyword(s):  
Digital Media ◽  
Live Performance ◽  
Moving Image ◽  
Image Projection ◽  
Media Events ◽  
Performance Events ◽  
And Performance

Film and performance have always been closely interconnected, from the origins of cinematic projection in 1895. This essay, with a theoretical focus, explores how film and moving-image forms work to transform performance when they intersect with it, and vice versa. It examines how film serves to mediate and ‘reframe’ the experience and the time of live performance events, notably through the incorporation of moving-image elements into the space of performance, and through particular forms of projection and audience perception. It also probes how conceptions of intermediality can be traced specifically through the intersection of film and performance. The essay spans the entirety of moving image culture, beginning with an account of the connections between film and performance in the work of the German innovators of moving-image projection, the Skladanowsky Brothers, and ending with an examination of the work of the contemporary Lebanese filmmaker and performance artist, Rabih Mroué, whose work resonates with early cinema’s performative strategies but focuses also on current digital media events such as the dangerous ‘performative’ public filming with iPhones of government snipers in the streets of Syria.

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