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Spectacles of Agency and Desire: Dance Histories and the Burlesque StageMain MenuKatherine Greerfc295a655478c83ef28fbc5d88f44e832ee8ba0bLilianna Kanec453f3fcecc1717732f04f989f34f22e5a4d4903Maddie Leonard-Rose7795fc6919b777a978ec7bda4587e47146d4272eMargaret Morrison70f833738ab191151c82af514f5ee008e3ec05e1Claire Staveskifd4448269ba1d9180643996c497c3b954e2e9635Rachel Sigrid Freeburg19a18a24de8629654b230af3d38b9d4e018fd92aNena Couch011ed4d85d026b7c015f3ceb81e22a57b29b69c6Harmony Bench0272c6dce71da71c341d0dca5e4d21947d1ad231
"The Bachelor Frolics"
12015-11-29T22:34:03-08:00Lilianna Kanec453f3fcecc1717732f04f989f34f22e5a4d490359771Old School Burlesque Strip Act from Vanity Productions which seems to supply Burlesque & Stag Films during the late 40's & 1950's. This young lady's act is called "The Bachelor Frolics."plain2015-11-29T22:34:03-08:00Lilianna Kanec453f3fcecc1717732f04f989f34f22e5a4d4903
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12015-11-23T02:26:22-08:00Lilianna Kanec453f3fcecc1717732f04f989f34f22e5a4d4903Pleasure in Burlesque: Power in the EroticLilianna Kane30plain2015-12-07T06:04:59-08:00Lilianna Kanec453f3fcecc1717732f04f989f34f22e5a4d4903
12015-11-23T02:26:22-08:00Pleasure in Burlesque: Power in the Erotic13Drafted path on pleasureplain2015-11-29T22:43:33-08:00When we conceptualize empowerment through burlesque performance, we must consider the different ways that pleasure manifests in performance. Is the performance an embodiment of that performer’s own pleasure, or is the performance simply catering to the spectator’s pleasures? Or is the pleasure shared? Audre Lorde discusses the erotic as a form of power in our racist, patriarchal, and anti-erotic society: “For the erotic is not a question only of what we do; it is a question of how acutely and fully we can feel in the doing” (54). She cites the common phrase “It feels right to me,” and articulates how that ability to acknowledge “the strength of the erotic into a true knowledge for what that means is the first and most powerful guiding light toward any understanding” (56). Acting and indulging in pleasure is powerful, especially in our society that teaches us, especially women, to suppress our desires (Lorde, 57). If we look at certain strip performances from the 1940’s-1960’s we can observe what appears to be performers pleasuring themselves. Their upward gazes, their soft smiles, and their tendency to touch themselves portray felt pleasure. Indulging in pleasure renders a sense of empowerment. But although these videos portray embodied pleasure, we must question whether the pleasure is actually felt, or whether it is simply performed.
