Danger Dames, Ocala Burlesque
A VERY BRIEF History & EXPLANATION concerning "Burlesque"
.....as Brief as we could make it...
Before an era where the tablecloth was made a household “must” because the legs of a table were considered too “tempting” and a womans ankles were to be covered as it would cause hysteria to have “Impure thoughts” about her and she was not allowed the right to vote: the word first appears in a title in Francesco Berni's Opere burlesche of the early 16th century, works that had circulated widely in manuscript before they were printed. For a time, burlesque verses were known as poesie bernesca in his honour. 'Burlesque' as a literary term became widespread in 17th century Italy and France, and subsequently England, where it referred to Parody, Satire, Imitation, or rowdy alternative comedy.
Victorian burlesque, sometimes known as "extravaganza", was popular in London theatres & Music Halls between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style. Burlesque became the specialty of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.
French & American burlesque shows were originally an offshoot of Victorian burlesque. The English genre had been successfully staged in New York from the 1840s, and it was popularized by a visiting British burlesque troupe, Lydia Thompson and her "British Blondes", beginning in 1868.[31] New York burlesque shows soon incorporated elements and the structure of the popular minstrel shows & Jazz penny & Dime shows. By the early 20th century, there were two national circuits of burlesque shows competing with the vaudeville circuit, as well as resident companies in New York, such as Minsky's at the Winter Garden.
At first, soubrettes, or “showgils” or “strippers” showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes.[33] The strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US. “Headlining” Star strippers included Sally Rand, Gypsy Rose Lee, Tempest Storm, Lili St. Cyr, Blaze Starr, Ann Corio and Margie Hart, who was celebrated enough to be mentioned in song lyrics by Lorenz Hart and Cole Porter, and even modern cult films today. By the late 1930s, burlesque shows would have up to six showgirls supported by one or two comics and a master of ceremonies. Comics who appeared in burlesque early in their careers included Fanny Brice, Mae West, Eddie Cantor,Abbott and Costello, W. C. Fields, Jackie Gleason, Danny Thomas, Al Jolson, Bert Lahr, Phil Silvers, Sid Caesar, Danny Kaye, Red Skelton and Sophie Tucker.
Meanwhile, in Paris they had their own version of the chorus line with the famous can-can dance. Not to mention the amazing venues of the Folies Bergère and the Moulin Rouge. In France burlesque houses & shows of this nature were where the height of society fought to be “seen” at and enjoying the spectacle and scandal were common place, eventually being a female dancer was even a sought after career and considered acceptable work for young women.
Burlesque gradually transformed into striptease with more and more elaborate costumes. The most notable first sighting was Little Egypt introduced the ‘hootchie-kooch’ at the 1893 Chicago World’s Fair. The continued moral outrage towards burlesque dancing further increased its attraction.
The first burlesque star of the 20th century was ‘The Girl in Blue’, Millie DeLeon. She gained the tagline from her costumes and the moves during her ‘cooch‘ dancing. She’s also known as ‘The First Real Queen of American Burlesque’, hitting the scene in 1903.
Striptease came into its own during 1920s burlesque when film and radio began to rival the appeal of Vaudeville. Furthermore, alongside Vaudeville there were several competing circuits with The Ziegfeld Follies andMinsky’s
Stars of the stage included the unforgettable Josephine Baker, innovative Sally Rand and famous Gypsy Rose Lee. It’sargued that during this time burlesque was “in it’s golden age”….Although, by the 40s showgirls censorship and clampdowns in New York began to strangle the biz.
Sexual Oppression, “modesty” based witch hunts and censorship of female artists and policing of female bodies made burlesque and “gal shows” retreat back into the shadows of burlesque, and being a “showgirl” was once again shamed & forced into the underworld of alternative arts considered “unwholesome.”
Showgirls traveled with “sideshows” in a f or dime tent show after hours. Nightclubs featured dancers still travelling the circuit but as policing of womens bodies became more rigid more venues were raided and performers arrested. Lili ST Cyr(Norma Jean’s agents inspiration behind the image and style marketing of “Marylin Monroe”) was arrested several times and stood before a courtroom in costume & performed her acts for it to be decided what was appropriate and what was art. Soon striptease in both the theatrical sense & Sex Industry sense where sluthsmaed into a nearly dead art. In the same era Rita Hayworth on the silver screen was being given criticism for removing her glove too sexy in the award winning film “Gilda” where she sang “put the Blame on Mame” and the scene was cut shorter and shorter for censorship, forever lost on the cutting room floor due to “hip bumps” & “grinds”…..
in the early 80’s Europe exploded with a retro revival and Neoburlesque reburst onto the scene as a way of female(and now male) artistic empowerment. America and other countries cought on in the 90’s and now our own thriving scene is coming around right here in Ocala Fl.
Our own town, in what is now the “Shanon Roth” Building is reported by several locals to be once the “Old Dixie Theatre” where vaudeville, sideshow acts & comics would stop on their circuit, bringing with them showgirls. However this is considered to scandalous to be apart of our history and has been “swept under the rug”
With such a rich history internationally Burlesque is now not only a sideshow tent experience but a mainstage attraction in large and luxurious theatres as well as high end night clubs in metropolitan areas. Most burlesque around the world is held in a theater. In Paris, New York, London, New Orleans, and thousands of other cities around the world, burlesque is considered an art form appropriate for a theater. And has been for the past 100+ years.
Now for well over 3 years Ocala has had it's own Burlesque revival. This empowering artform has given a voice to the women and even a few Boylesquers in our own town. Our girls have been spreading body confidence, self love & other feminism messages and support of the unoppressed sensuality with satire, glamour and a LOT of feathers n' Rhinestones.
Our tasteful production has been enjoyed by audiences near and far and we look forward to seeing you enjoy our next fun show.
See you at the Stage Door!
Victorian burlesque, sometimes known as "extravaganza", was popular in London theatres & Music Halls between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risqué in style. Burlesque became the specialty of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s.
French & American burlesque shows were originally an offshoot of Victorian burlesque. The English genre had been successfully staged in New York from the 1840s, and it was popularized by a visiting British burlesque troupe, Lydia Thompson and her "British Blondes", beginning in 1868.[31] New York burlesque shows soon incorporated elements and the structure of the popular minstrel shows & Jazz penny & Dime shows. By the early 20th century, there were two national circuits of burlesque shows competing with the vaudeville circuit, as well as resident companies in New York, such as Minsky's at the Winter Garden.
At first, soubrettes, or “showgils” or “strippers” showed off their figures while singing and dancing; some were less active but compensated by appearing in elaborate stage costumes.[33] The strippers gradually supplanted the singing and dancing soubrettes; by 1932 there were at least 150 strip principals in the US. “Headlining” Star strippers included Sally Rand, Gypsy Rose Lee, Tempest Storm, Lili St. Cyr, Blaze Starr, Ann Corio and Margie Hart, who was celebrated enough to be mentioned in song lyrics by Lorenz Hart and Cole Porter, and even modern cult films today. By the late 1930s, burlesque shows would have up to six showgirls supported by one or two comics and a master of ceremonies. Comics who appeared in burlesque early in their careers included Fanny Brice, Mae West, Eddie Cantor,Abbott and Costello, W. C. Fields, Jackie Gleason, Danny Thomas, Al Jolson, Bert Lahr, Phil Silvers, Sid Caesar, Danny Kaye, Red Skelton and Sophie Tucker.
Meanwhile, in Paris they had their own version of the chorus line with the famous can-can dance. Not to mention the amazing venues of the Folies Bergère and the Moulin Rouge. In France burlesque houses & shows of this nature were where the height of society fought to be “seen” at and enjoying the spectacle and scandal were common place, eventually being a female dancer was even a sought after career and considered acceptable work for young women.
Burlesque gradually transformed into striptease with more and more elaborate costumes. The most notable first sighting was Little Egypt introduced the ‘hootchie-kooch’ at the 1893 Chicago World’s Fair. The continued moral outrage towards burlesque dancing further increased its attraction.
The first burlesque star of the 20th century was ‘The Girl in Blue’, Millie DeLeon. She gained the tagline from her costumes and the moves during her ‘cooch‘ dancing. She’s also known as ‘The First Real Queen of American Burlesque’, hitting the scene in 1903.
Striptease came into its own during 1920s burlesque when film and radio began to rival the appeal of Vaudeville. Furthermore, alongside Vaudeville there were several competing circuits with The Ziegfeld Follies andMinsky’s
Stars of the stage included the unforgettable Josephine Baker, innovative Sally Rand and famous Gypsy Rose Lee. It’sargued that during this time burlesque was “in it’s golden age”….Although, by the 40s showgirls censorship and clampdowns in New York began to strangle the biz.
Sexual Oppression, “modesty” based witch hunts and censorship of female artists and policing of female bodies made burlesque and “gal shows” retreat back into the shadows of burlesque, and being a “showgirl” was once again shamed & forced into the underworld of alternative arts considered “unwholesome.”
Showgirls traveled with “sideshows” in a f or dime tent show after hours. Nightclubs featured dancers still travelling the circuit but as policing of womens bodies became more rigid more venues were raided and performers arrested. Lili ST Cyr(Norma Jean’s agents inspiration behind the image and style marketing of “Marylin Monroe”) was arrested several times and stood before a courtroom in costume & performed her acts for it to be decided what was appropriate and what was art. Soon striptease in both the theatrical sense & Sex Industry sense where sluthsmaed into a nearly dead art. In the same era Rita Hayworth on the silver screen was being given criticism for removing her glove too sexy in the award winning film “Gilda” where she sang “put the Blame on Mame” and the scene was cut shorter and shorter for censorship, forever lost on the cutting room floor due to “hip bumps” & “grinds”…..
in the early 80’s Europe exploded with a retro revival and Neoburlesque reburst onto the scene as a way of female(and now male) artistic empowerment. America and other countries cought on in the 90’s and now our own thriving scene is coming around right here in Ocala Fl.
Our own town, in what is now the “Shanon Roth” Building is reported by several locals to be once the “Old Dixie Theatre” where vaudeville, sideshow acts & comics would stop on their circuit, bringing with them showgirls. However this is considered to scandalous to be apart of our history and has been “swept under the rug”
With such a rich history internationally Burlesque is now not only a sideshow tent experience but a mainstage attraction in large and luxurious theatres as well as high end night clubs in metropolitan areas. Most burlesque around the world is held in a theater. In Paris, New York, London, New Orleans, and thousands of other cities around the world, burlesque is considered an art form appropriate for a theater. And has been for the past 100+ years.
Now for well over 3 years Ocala has had it's own Burlesque revival. This empowering artform has given a voice to the women and even a few Boylesquers in our own town. Our girls have been spreading body confidence, self love & other feminism messages and support of the unoppressed sensuality with satire, glamour and a LOT of feathers n' Rhinestones.
Our tasteful production has been enjoyed by audiences near and far and we look forward to seeing you enjoy our next fun show.
See you at the Stage Door!
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