Professional Documents
Culture Documents
Burlesque Paper
Burlesque Paper
Burlesque Paper
Katelynn A. Drury
Abstract
This paper gives a brief history of the theatrical art form of burlesque. It describes the
role burlesque has had in culture as a commentary towards society and redefining
accompany burlesque is explored while attempting to explain the art form’s true magic
and appeal. The changes burlesque has undergone have been tremendous, and this paper
clarifies such changes and offers support as to why they happened. By discussing the
paradigms and typical gender roles that burlesque attempts to unseat this general
overview sheds light on the various facets of a complicated and misunderstood art form.
A BRIEF HISTORY OF BURLESQUE 3
(“Dictionary,” 1989). This definition is multi-faceted, defining both adjectives and nouns,
and alluding to the many layers of which burlesque is composed. Burlesque, as an art
form, reflects this multi-faceted definition. Beginning in the 1840s burlesque evolved
and patriotism while simultaneously attempting to return to its roots and purpose in satire.
Burlesque is an art form with deep roots in politics and satire. “From 1840 to
1860, burlesque was used to parody the operas, plays, and social gatherings of the upper
class while entertaining the lower and middle classes” (Sinclaire, 2008). It utilized
comedy and music to challenge a prestigious upper class and its ideals. The operas and
classical theatre commonly attended by high society originated during the Renaissance.
The shows reflected the Renaissance’s high ideals and humanistic views. Mid 19th
century Burlesque adapted these classics to be more risqué; in turn ridiculing the classical
style in which it was originally performed (Kenrick, 2004). In addition to the specific
ridicule of adapting a classic show, the variety show became wildly popular. It combined
many forms of comedy, parody, and extravagance into one super charged show of hilarity
and jest.
challenge perceptions through performance of such a variety show. The intent was not the
display of the female body, but rather to share a “politically aware and self-conscious
program of entertainment” (Nally, 2009, p. 622). Although the girls were progressive and
A BRIEF HISTORY OF BURLESQUE 4
wild, “the curious combination of comedy, parody, satire, improvisation, song and
dance, variety acts, cross-dressing, extravagant stage effects, risqué jokes and saucy
costumes took New York by storm” (Hoffos & Moulder, 2006, p. 5). The defining aspect
of Thomson’s troupe was their costumes. Nude tights were the secret to the risqué and
scandalous costumes worn by these ‘British Blondes.’ The tights allowed the woman to
perform cross dressing roles without her legs actually being revealed in the literal sense
of the word. “Of course, the legs were being revealed, but the tights offered an illusion of
decorum” (Glasscock, n.d.). The illusion of modesty paired with the obvious sexual
nature of such bare legs made the ‘British Blondes’ a wild success. Besides being
appealing, the tights were also a special way to call attention to the larger concept of
Thomson’s troupe especially challenged the Victorian era’s view of women and
what was proper to wear. Victorian women went to great lengths to hide their physical
figure under layers of fabric, but Lydia Thomson’s girls wore impressive spoofs of such
attire involving comically large ruffles, bustles, corsets and bows of the nineteenth
century (Nally, 2009, p. 622). Such exaggerations were “often a clear satire of upper-
class fashion, social mores and sensibilities, as well as a dramatic and deliberate display
of the female body” (Nally, 2009, p. 622). The specifically designed costumes artfully
displayed legs, cleavage, and neck in a tantalizing way. “The very sight of a female body
called attention to the entire question of the ‘place’ of women appearing in American
society” (Allen, 2008, p. 258). The idea of young, scantily clad women appearing on
stage in a production written and produced by a woman was a powerful change to the
A BRIEF HISTORY OF BURLESQUE 5
societal norm. Because of its tendency to focus on the gender roles and perceived
innocent, helpless and retiring in matters such as sexuality (Soloman, 2001, p. 694).
Through burlesque, a new type of woman emerged, one that was exalted for having a
voice and making herself into exactly what she wanted to be.
Paris, France, had a thriving burlesque community at the same time Lydia
Thomson entered New York. There was, however, a very distinct difference. In Paris,
burlesque was celebrated as a lifestyle rather than a character which concluded at the end
of a revue. Women made themselves into stars by defying class, society, and stereotypes.
“It was the age of the Moulin Rouge and a time when any girl, no matter her background,
could transcend class by lighting up the stage” (von Teese, 2006). The show girls, or
courtesans, were first and foremost performers. The sexual nature of their lifestyle came
as an afterthought. Courtesan did not have the negative connotation in the 19th century as
power” (von Teese, 2006). They were socialites and celebrities in the social circle. These
dancers associated with kings, artists, and writers, many of whom were patrons of
burlesque. Lavished with gifts, courtesans lived a life of gaudy wealth and high end
indulgence. “But the truth is that this courtesan was not dependent on any man; she made
her living onstage” (von Teese, 2006). The woman the courtesan created on stage was the
woman dependent on men. A courtesan’s goal was to create “tantalizing, yet ephemeral
characters” yet still remain “just out of ‘real’” (Schweitzer, 2000, p. 67). Showgirls were
A BRIEF HISTORY OF BURLESQUE 6
selling something that was not tangible, and oftentimes fleeting: the art of sexuality. As
Minstinguett, a popular courtesan, said herself: “We sell [the audience] a trip to nowhere,
canvas landscapes, moonbeams made out of gelatin” (ctd. in von Teese, 2006). The
showgirl sells magic. It was this undeniable magic that changed the art of burlesque at the
From the 19th to the 20th centuries, burlesque became extremely popular but also
mass-produced. Shows altered their focus to be a showcase of the female body, rather
than an interaction between audience member and performer. The majority of burlesque
clubs “focused more on the physical form of the girls rather than the substance of the
performance” (Sinclaire, 2008). While America became laden with restrictive laws
determining what could be worn and what exactly was deemed appropriate, the striptease
was the objection to such control. However, the women were not initiating this rebellion.
Women were no longer in charge of burlesque shows; they were the show. Burlesque was
women had been silenced and the show entirely revised, popularity did not decrease in
the slightest. In fact, this new version of burlesque was even more popular among
patrons.
Striptease may have revived the popularity of burlesque, but it also enforced a
sleazy reputation. Rather than selling magic, burlesque was seen to be selling sex. Sex
without intimacy was seen as primal and, therefore, connected to the dregs of society.
Participators in this carnal act, as well as the act itself, were seen as a threat to the social
structure of America (Schweitzer, 2000, p. 67). Strip joints were regulated to red light
A BRIEF HISTORY OF BURLESQUE 7
districts and other sketchy areas of town. Despite such a risk in performance, the acts
became more elaborate and increasingly graphic, often including props. Running
burlesque clubs became a liability and the strippers who performed there were a large
part of such a hazard. “Strippers had to walk a fine line between titillation and propriety
—going too far (let alone ‘all the way’) could land them in jail for corrupting public
morals” (Kenrick, 2004). Although the material was more graphic, the police did not
formerly close down burlesque houses until well into the 1930s.
New York mayor Fiorello LaGuardia began his reform plan from the moment he
took office in 1934. Among many other goals for his mayoral term, restoring and
upholding his puritanical beliefs was on the top of the agenda. The National Winter
Garden, the largest and most popular burlesque house in New York City, was famously
raided by police numerous times before it was closed in 1937 (von Teese, 2006).
degraded society as a whole (Kenrick, 2004). Unfortunately, he was not entirely wrong.
The once theatrical art form of burlesque had simply become a series of bump and grind
routines always resulting in almost entirely naked women and lifeless comic bits.
Burlesque had a very real chance of ending entirely as performers were denied the
opportunity to perform.
In an effort to keep burlesque alive, groups went on the road. New York City,
once burlesque’s main stage, now had few opportunities or spaces for performance.
Fortunately, bringing the shows to people who had never experienced such an act before
was beneficial. Shows were commonly sold out and new clientele gave the performers a
chance to experiment with new and more inventive costumes, acts, and props (Sinclaire,
A BRIEF HISTORY OF BURLESQUE 8
2008). However, the large effort to revive the original focus of burlesque fell incredibly
short as audiences clearly favored the saucy striptease. Even with the benefits of new
material and props, live burlesque would never again be the passionate political and
social commentary it once was. A continuation of the art form would have to be found in
a different source. Luckily, television and radio producers were enamored with the
The burlesque movies of the 1940s and early 1950s were not nearly as graphic or
objectifying as striptease. The women in the movies did wear revealing costumes, but
they were never nude. (Kenrick, 2004). It was not about the individual body, but about
the collective experience and atmosphere. The humor of film burlesque was not the
typical political and social mishaps, but rather a light simple humor focusing on
malapropism and slapstick. At first, the films were shot in medium or long shots because
the shows were staged in an actual theater (Caldwell, 2008). The theater made burlesque
a more formal affair and showing such a performance on television enhanced the
Connell reinvented film burlesque when he moved the performances from an actual stage
to a studio, enhancing lights, sound, and allowing for close ups. The 1951 film French
curtains, singing emcee, dances by showgirls and strippers, frequent sketches with
straightmen and comedians, and a finale featuring a star performer” (Allen, 2008, p. 258).
Films were burlesque’s saving grace. Recognition of the original intent of such a
performance style was exactly what burlesque needed to once again come to the forefront
A BRIEF HISTORY OF BURLESQUE 9
of entertainment. Never again did such a complete reversal of principals occur, but a
Pin up girls, the product of the evolution, came about at a time when “people
everywhere were celebrating Americana of all kinds, and burlesque was as American as
baseball” (von Teese, 2006). Live burlesque was revived with new acts inspired by the
movie stars that graced the big screen; more specifically, Marilyn Monroe. Marilyn
Monroe took the country by storm; she was, however, a “created” beauty and the
burlesquers played up that exaggeration (von Teese, 2006). Monroe’s pristine appearance
appearance, and publicity stunts were overemphasized in each performance, enforcing the
fact that the average woman was nothing like Monroe. Every performer had a signature,
ranging from their act to their attitude. Such signatures made burlesque memorable and
enjoyable. The audience felt involved because they were able to identify with each
performer’s created persona and identity in some small way (von Teese, 2006). Burlesque
never again faded entirely from the stage as it had in the 30s. In fact, the 21st century
The golden age of burlesque may be far gone, but the legacy lives on as certain
aspects of the original burlesque comedy appear in modern everyday comedy. Spit takes,
double entendre, and public mockery of politicians and celebrities are all reminiscent of
the heyday of burlesque. The early 2000s brought on another possible revival of the
original act of burly-q featuring cross dressers and drag performers. Parodying not one
sex but both, simultaneously, was the ultimate nod to burlesque in its purest form.
A BRIEF HISTORY OF BURLESQUE 10
“Without question, burlesque’s principal legacy as a cultural form was its establishment
of patterns of gender representation that forever changed the role of women on stage”
(Allen, 2008, p. 258). The live burlesque comedy scene is irresistible as it challenges
social, cultural, and sexual status quo. Burlesque leaves an important legacy as it is
tweaked to suit audiences of all generations. A revival of burlesque and a renewal of the
art of showmanship would surely make the world a brighter place and all signs imply that
References
http://www.kittie.me.uk/funny-ha-ha-or-funny-peculiar-a-guide-to-
classical-burlesque/
Caldwell, M. (2008, May 18). The almost naked city. New York Times. Retrieved
from http://www.clotheslinejournal.com/burlesque.html
Hoffos, S & Moulder, B. (Autumn 2006) Desperately seeking lydia and appreciating
http://burlesquehottie.blogspot.com/2008/10/history-of-burlesque.html
http://www.independent.co.uk