y Australasian Drama Studies periodical issue   assertion
Issue Details: First known date: 2013... no. 63 October 2013 of Australasian Drama Studies est. 1982 Australasian Drama Studies
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  • Only Australian literary material individually indexed.


* Contents derived from the 2013 version. Please note that other versions/publications may contain different contents. See the Publication Details.
Viewing the Burlesque Hour : The Pleasures of the Masochistic Gaze, Sarah French , Georgina Boucher , 2013 single work criticism
'The Burlesque Hour, created by Moira Finucane and Jackie Smith, brings together a diverse range of Australian and international performers, who employ a variety of di!erent performance styles yet share an interest in exploring issues of sexuality and gender and in utilising what Finucane describes as a 'burlesque sensibility'. The Burlesque Hour is one of Australia's most popular, successful and critically acclaimed burlesque shows. It has performed nationally and internationally since 2004 and at the time of writing is touring Australia under the title 'Caravan Burlesque'. While the majority of vignettes that make up the show originated in small clubs and avant-garde theatre venues, The Burlesque Hour has propelled them into visibility, leading small-scale, experimental works to be seen by over 90,000 spectators worldwide.3 The performance is immensely entertaining and pleasurable and also frequently provocative, confronting and challenging. It occupies an interesting position within contemporary burlesque in that it departs from the 'tassels and tease' style of much new burlesque and maintains a decidedly subversive agenda.' (Publication abstract)
(p. 6-23)
'Very Scanty Covering for the Chocolate Body': The Art of Burlesque and the Fijian Cricket Team in Australia, 1907-1908, Nicole Anae , 2013 single work criticism
'Press accounts of public appearances by the Fijian Cricket Team that toured Australia in 1907-08 expose broader social trends in contemporary understandings of commercialised sport, popular entertainment and male sexuality. The centrality of the Fijians' apparel to the sexual display within their performances suggests that the team fused humour with a desire to appeal to the massive crowds that patronised their matches - upward of 9,000 spectators at some games. By simultaneously appropriating a national game - cricket - the team engineered a forum for entertainment that confronted Edwardians with illustrations of raw power, physical prowess and near-naked Fijian masculinity. To this day, these reports offer vivid examples of how the team enticed Edwardians with performances combining sport, ethnographic display, and titillation.' (Publication abstract)
(p. 33-51)
Show Girls and the Choreographers in Australian Entertainment : The Transition to Nightclubs, 1946-1967, Jonathan Bollen , 2013 single work criticism

'When an Australian Cinesound newsreel from 1946 o!ers to take viewers behind the Tivoli curtains for a glimpse backstage at the life of a show girl, erotic fantasies are doused and moral qualms are soothed. As it turns out, Joyce Smith is just a girl-nextdoor, living an ordinary, respectable, work-a-day life. For 7 pounds and 2 shillings a week, she arrives at the theatre for morning rehearsal, performs two shows a day, matinee and evening, six days a week. She is met by her steady boyfriend a"er the evening show, but, too tired to socialise a"er a day's work, she heads straight home to bed. The glamour of the film's chorus line montage is grounded by the mundane narrative of a working girl's routine. A photo-essay on a 'Nightclub Dancer' in a 1950 issue of Pix magazine operates on similar terms. The visual eroticism of the nightclub, depicted in photographs of the floor show and dressing rooms, is stabilised in the story by a domestic frame: 'At night she frolics with other lovelies among crowded cabaret tables. By day she's a home girl, mad on pets. She doesn't drink or smoke.' The discourse on show girls' work is sustained when Pix profiles a Tivoli 'ballet girl' three months later: 'She thinks people have wrong ideas about the glamour of it. "There's not much glamour in sheer hard work," she says. "We're on the stage because we love it."' (Publication abstract)

(p. 52-68)
Eat, Pray, Laugh! : Barry Humphries, Reg Livermore and Cross-Dressed Australian Burlesque, Anne Pender , 2013 single work criticism (p. 69-93)
Trickster-Infused Burlesque : Gender Play in the Betwixt and between, Terrie Waddell , 2013 single work criticism
'In a flaunting of bodily 'dis'-play, female burlesque performers of the mid-nineteenth century elevated themselves to celebrity status. By upholding an ethos of irreverence that twisted and unsettled the more problematic ideals of 'womanliness', they provided strategies for their contemporary successors. Such presences continue to flourish in the dream-like shadows or liminal spaces of desire and trickster-infused play to prod audiences (consciously or unconsciously) into new ways of imagining - particularly in relation to the elusive and multidimensional concept of the feminine. The shape-shifting trickster figure is a ubiquitous presence in myth, literature, theatre and screen storytelling (as reworked myth). While it evades any conclusive definition, it's not difficult to recognise core features. The same applies to burlesque and its many manifestations. Like trickster, the form and content of the genre can be elusive, marginal, resilient and absurd - a web of play that in itself defies reason, but inspires much theorising and cultural reflection. It is in the spirit of this focus issue that the following interdisciplinary analysis will look both to and beyond traditional understandings of female-centred burlesque and its manipulation of the feminine. After a brief contextualising history, the emphasis will shift to consider of how this kind of entertainment can be thought of as a liminal experience steeped in trickster energy.' (Publication abstract)
(p. 96-110)
Creating Cultural Heat in the Burlesque Hour : An Interview with Moira Finucane, Sarah French , 2013 single work interview (p. 121-127)
On No Nudity, Weapons or Naked Flames : Monologues for Drama Students, Joanna Winchester , 2013 single work review
— Review of No Nudity, Weapons or Naked Flames : Monologues for Drama Students 2012 anthology drama ;
(p. 133-135)

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