A.Early 1.Burlesque used parodies of songs that were already in existence. 2.The music was used to indicate a bright or high-spirited humor, sometimes in contrast to seriousness. 3.These songs were written to popular music worldwide. 4.Later burlesques mixed the music of opera, operetta, music hall and revue.
5.Some of the more demanding shows had original music composed for them.
6.Very much of Burlesque was acting and theatrical roles with dialogue.
B.Today 1.Burlesque uses live music with very big bands. 2.Performers lip synch to old, classic songs. 3.1940s show music plays a very big part in these performances.
II.Costumes
A.Early 1.Performers used tightly-laced corsets used to define their torsos and breasts. 2.They used form fitting tights that showed off their legs.
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4.Show creators and owners of clubs did not hire women who were under 150 pounds, some even looked for women over 200 pounds.
5.The popular image of the burlesque performer was a large, tall female, so powerfully-built that she was practically “Amazonian”.
6.Performers would use costumes for male roles emphasizing their feminine sexuality by contrasting it with markers of masculinity.
7.Nudity was developed because of American style Burlesque.
B.Today 1.Bottoms are usually tiny G-strings. 2.Tops are usually non-existent. 3.Nipple tassels or Nipple pasties are placed to cover breasts. 4.Props are now incorporated.
5.Plush boas and large feathery fans are used to cover areas of the body where an item of clothing was just removed.
6.In more extreme cases, “merkin” or pubic wigs, are used.
7.Gloves and stockings are essential as part of the tease, since they begin by removing these articles first. 8.Heavy makeup is essential.
III.Dance
Many scenes involved ironic contrasts between the tone and the surroundings. On several occasions the background music was cheerful and upbeat while the physical settings and scenery were terribly dark, dreary and depressing. One good example of this is the scene where Andy was helping the guards with their taxes. There was upbeat and cheerful music but the room and the surroundings were dark and gloomy. This hint of happiness represents how Andy’s hope ...
In television, the male gaze refers to the way in which the camera of a show may objectify a woman. However, those starring on stage in musicals, as well as in musical themed shows such as glee, may be the subject of the gaze. The idea of a ‘gay-male’ gaze, as well as a female gaze, often are described in this situation. Clum describes that “the same chorus boys who play the Cagelles are the macho men who do the dance break in ‘Masculinity.’ The chorus can play masculine or feminine, gay or straight, unlike the drag diva, who can only be gay” (Clum 201). Through this, one may understand that the musical genre, as well as similar television productions, put their focus on two types of audience members: the straight woman and the gay man. Due to the aforementioned relationship between expressive conduct and sexuality, it can be thought that this may contribute to the identification of musicals as a mostly gay aspect of culture. This can be related to Glee in that many of the characters express their sexuality through songs from Broadway musicals and other popular artists, even if it may affirm stereotypes in the
1. In Riseman and Seale’s chapter Betwixt and Be Tween, they focus on how sexual identity can be used to police a male’s masculinity. It can start with something as innocent as a shy, quiet boy who starts to be picked on because he is no assertive or aggressive like the other males. The way he is picked on can be the other boy’s called him a: faggot, gay, homo, or boy lover. This means at a young age boys start to think they have to be a certain way to seem manly: assertive, enjoy sports, and be better than girls in all aspects; these are just a few ways boys try to prove their masculinity. One example that proves this was discussed in this chapter. Some students, both male and female, are given a hypothetical situation about a boy, Marcus,
Judith Butler’s concept of gender being performative focuses on how it creates a sequence of effect or impression. Human have a consistent way of talking about their gender as if it were something that is simply a fact. People go about their lives following patterns that are interconnected with their male or female appearance. They get very settled in the expected behaviors and common attributes of male or female, without recognizing that gender is a social construction. It is difficult to wrap your head around the idea that gender is always changing and being reproduced because it is conversation that often goes unnoticed. Butler realizes that it will be a struggle to get people to grasp the idea that nobody actually is their gender and that
The clusters of social definitions used to identify persons by gender are collectively known as “femininity” and “masculinity.” Masculine characteristics are used to identify persons as males, while feminine ones are used as signifiers for femaleness. People use femininity or masculinity to claim and communicate their membership in their assigned, or chosen, sex or gender. Others recognize our sex or gender more on the basis of these characteristics than on the basis of sex characteristics, which are usually largely covered by clothing in daily life.
An example of such traditional representations may be ( https://m.youtube.com/watch?feature=youtu.be&v=ZS9SXH3DfT8 ) here we see Danny going from a less masculine or, more traditionally feminine features such as becoming the love interest and the weakness. This is justified as he quickly changes so his "friends" see him as his masculine self. Such behaviour is commonly found in society and is part of group behaviour and social patterns, grease, however, blows
Though its primary function is usually plot driven--as a source of humor and a means to effect changes in characters through disguise and deception—cross dressing is also a sociological motif involving gendered play. My earlier essay on the use of the motif in Shakespeare's plays pointed out that cross dressing has been discussed as a symptom of "a radical discontinuity in the meaning of the family" (Belsey 178), as cul-tural anxiety over the destabilization of the social hierarchy (Baker, Howard, Garber), as the means for a woman to be assertive without arousing hostility (Claiborne Park), and as homoerotic arousal (Jardine). This variety of interpretations suggests the multivoiced character of the motif, but before approaching the subject of this essay, three clarifica- tions are necessary at the outset.
“The skirt is ankle-length, full, gathered to a flat yoke that extends over the breasts, the sleeves are full. The white wings too are prescribed issue; they are to keep us from seeing, but also from being seen”. (Chapter 2, page 4)
In Visual Pleasure and Narrative Cinema, Mulvey states that, “Traditionally, the woman displayed has functioned on two levels: as erotic object for the characters within the screen story, and as erotic object for the spectator within the auditorium, with a shifting tension between the looks on either side of the screen.” (Mulvey 40). A woman’s role in the narrative is bound to her sexuality or the way she
identity or roles. Gender expression may or may not conform to a person’s gender identity.
The use of original practices, the costumes and male characters used to play the role of female characters are due to the different gender identity attributes and sexuality concerns from the play. Although the producer insists that the use of male characters to play female roles was mainly to show case the original set-up and forms of acting it can also be attributed to the producer wishing to raise different sexualities from the audience. The different actors who play the roles of females while they are male characters have been used by the producer to raise different sexualities since the heterosexual people in the audience view of the audience since gender as asserted by Bulman is performative rather than
Since the earliest days of human civilization music has been a key tool for communication of stories which carried emotions through them. If we think back to our youngest years of life music has surrounded us whether it was from our parents singing us lullabies or from some sort of toy that played music we can say that musical melodies have helped shape or lives one way or another. Once we start growing up and figuring out who we are our musical preferences change; some people like classical and some like punk. We start to befriend people who like the same music as us and eventually we may attend a musical event. Our lives somewhat revolve around the music that we listen to.
Students were asked to fill out the questionnaire according to the instructions present at the top of the page, as well as being asked to imagine the social setting as being that of a cinema in order to ensure any external social factors that might compel the participants to be more aware of their traditional gender identity as a factor within their genre preferences. Students were also asked to record their age and gender at the top of their page. Results were calculated for the Yes/No questions by assigning a value of 1 to yes answer and a value of 0 to No answers and then calculating the ...
Masculinity and femininity are two terms, which have been interpreted differently throughout history. Both the males and the females have responsibilities and duties but these duties differ based on one’s gender. Gender has played a prodigious role in the economy, politics, and the society. Everyone starts making interpretations of the strengths and weaknesses based on one’s gender. These interpretations are not always based on his or her ability but is usually based on his or her gender. Males tend to be judged as extremely strong and unfashionable in terms of appearance. Whereas, females are judged as expensive and very fashionable. Males and females both differ in their abilities and their enjoyments. Fashion, entertainment, and strength are three topics, which are used to define masculinity and femininity in the 21st century.
The dress is divided parts of each leading a specific task and these parts are: