To begin with an overview of American Burlesque history, we must look at the word definitions and what it brought to the society it began in.
The word “burlesque” means:
bur·lesque
/ˌbərˈlesk/
noun
noun: burlesque; plural noun: burlesques
an absurd or comically exaggerated imitation of something, especially in a literary or dramatic work; a parody. "the funniest burlesque of opera”
The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla – a joke, ridicule or mockery.
Let’s take a short trip to North America in the beginning or burlesque…
American burlesque is composed of three essential influences in the beginning years; Music Hall, Minstrel shows, and Victorian burlesque. These distinct performance artforms traveled to North America around the mid-1800s, gaining steady popularity in the 1860s. Evolving into the renowned performance art that we all know and love today.
Victorian burlesque (or also known as travesty or extravaganza) is a form of theatrical entertainment in the mid-19th century (in Victorian England). Burlesque at this time was an artform to parody any “high society entertainment”. This was done by taking a comedic spin on opera, classical theatre, and ballet; meant to mock the styles of the original works. Victorian burlesque was popular in London 1830s to the 1890s, commonly in the form of opera parodies, or any “fine art”. Burlesque began to show in New York around the 1860s, with burlesque troupes (composed of mostly female troupe members).
Music Hall is another form of British theatrical entertainment that has popularity in the Victorian era. Music Hall could have a mixture of popular songs, comedy, and specialty acts; all-around a variety of entertainment. The term would adapt to fit the type of theater or venue the show would take place in. British Music Hall would consider the American Vaudeville style was too analogous in comparison. Music Hall grew out of the saloon bars in the 1830s; eventually leading to the evolution of the varying types of theater that we see in today’s world.
Minstrel shows were developed in the early 19th century as an American form of entertainment. These shows would have a diverse cast that would be made up of comedic, dancing, musical, and many more acts in a large variety. Minstrel shows brought burlesque to light, just briefly, before it’s explosion almost a decade later. Minstrel shows have come with racial overtones and the controversy that came with those overtones. Troupes (composed mostly of Caucasian people) would depict people of minorities, specifically people of African ancestry. These acts would consist of the troupe members in blackface, to show that they were portraying someone with dark skin. There were some performers that were African-American that performed within the Minstrel shows and troupes (some troupes consisting of strictly folks of African descent). Minstrel shows had extreme popularity in the 1830s and 1840s, "consistently packed with families from all walks of life and every ethnic group”; despite the style of humor that was portrayed. This style of the show died out over the years in the way it would “parody” minitories and finally meeting its social end during the Civil Rights Movement. The overall view of these types of shows has changed as the structure of the show was adapted in the 20th century. Minstrel shows had a “three-act” structure; beginning with wisecracks and singing. The second act being a variety and the third act would have some sort of headliner.
“American burlesque is a unique art form in its own entirety. By the 1880s, the four distinguishing characteristics of American burlesque had evolved:”
The four elements of American Burlesque are:
Minimal costuming, shifting focus onto the female form.
Sexually suggestive dialogue, dance, plotlines, and staging.
Quick-witted humor laced with puns, but lacking complexity.
Short routines or sketches with minimal plot cohesion across a show.
These are still solid core parts of an act in today’s burlesque world. The ability to keep the sensuality, performance, and humor in check are what drive the performances. In the late 1800s, American burlesque expeditiously adopted the Minstrel show structure. The first act composed of song, dance, and comedic routines. The second act featured a variety of skits and musical numbers. The third and grand finale would vary from a musical act or a boxing match.
Rolling into the later 19th century, burlesque began to execute more freedom with the planning of the performances. Burlesque was developing alongside with Vaudeville; though much of the entertainment of burlesque would focus on “lowbrow” and bawdy humor. “In 1937, Epes W. Sargent wrote in Variety that, "Burlesque is elastic; more so, perhaps, than any other form in theatrical entertainment", meaning that burlesque performers didn't need to perform in a certain way.” This description can be taken as each show and production is different, especially in modern-day burlesque (neo-burlesque). Between 1870 and 1940, there was a burlesque troupe in every state! Over time, vaudeville shows were beginning to incorporate burlesque acts; with the hopes of gaining more ticket sales. Burlesque prevailed and remained popular with the rise of movie technology, while vaudeville was moved to the back burner in the 1920s. As vaudeville was phased out of the burlesque world, burlesque began to envelop the striptease. Even with burlesque remaining “family-friendly” until WWI; with this other production companies branched out into “Adult Entertainment” AKA Stripteasing. As times progressed, so did the artists. These performances began to feature stripteases with a narrative; these narratives opened the door for dancing, singing, witty humor, and political commentary. During these shows (sometimes referred to as “leg shows”) these women would actively fight for abolition and suffrage; while using public spaces for different types of performances and demonstrations. Much like the modern-day burlesque performers. This would be where burlesque dug in its political roots. From the 1920s and to today in 2020, burlesque has always had a dash of politics woven within.
At the turn of the 20th century, the striptease became the big piece of burlesque. The striptease craze started with singers that would dance, showing off their figure. As burlesque grew throughout the 1920s, as the theaters did. Entertainment was presented in cabarets, music halls, clubs, and theaters. Giving production companies like The Ziegfeld Follies and The Minsky Brothers; both taking American burlesque in two different directions. The Minksy Brothers gave themselves an edge. Producing burlesque with a transparent tagline, “Burlesque as you like it - - - Not a family show!”. Their productions were risqué for the 1920s, but they are quite vanilla in today’s standards. The Minsky Productions survived The Great Depression and multiple raids upon their shows. The final raid in 1937 put an end to The Minsky Brothers and all burlesque in New York. The result of the raid caused all burlesque licenses to be revoked and no longer able to renew. As burlesque was banned, Minksy Brothers were out of business.
Progressing into the 1930s, burlesque theaters would use slogans stating, “Girls and Gags!”, in hopes of drawing in partons for the shows. During this phase of burlesque performers (consistently female) would create lavish illustrations that included vibrant costumes, these acts ranged from the simplest to the most luxurious sets and choreography. The dramatic novelty would be apart of the production; sometimes having contortionists, fire breathing, or sword-swallowing. Shows that incorporated a multitude of acts were what the “hay day” of variety shows were; including strong and weak burlesque elements. As the social deterioration of burlesque began with bans and raids in New York making burlesque illegal. The spotlight may have dimmed out but some stage lights remained one in the wings; this is where American Burlesque was considered to “reach its final, shabby demise” by 1940.
With time, society grew to more conservation standards and burlesque was (almost) forgotten. Performers, producers, and all in-between were confronting many censorship and bans for live shows; trading it all in for the film strips and shining lights. For the “safety” of Hollywood; there was no raiding on a film set. Though there were live shows scattered across the U.S.; for the big stars, it was safer to be acting than on stage. From the 40s to the 60s, filmmakers were entertained by the nostalgia of burlesque with their films. Stripteasing shows would experience a flux in the 1960s with the rise of topless go-go dancing. Eventually adding in bottomless dancers. This paved the way for full nude dancing in the 70s. The striptease had come with the expectation of explicit content from the dancers. The 80s brought exotic lap dancing and pole dancing to the mix. Thus setting to the club standards that we have become accustomed to from the 80s and 90s. This was the breath of air; one that the flame of burlesque was needing.
The 90s brought a larger gust to reignite the flame that was once American Burlesque. Neo-Burlesque came to life in the 1990s, giving burlesque a dose of rejuvenation and rebirth. Despite the debate of where in NYC neo-burlesque had dug in its roots; there was a draw to the nostalgia and glamour of classic burlesque. As neo-burlesque flocked across the nation, performers were creating the embodiment of the classics. Such as Temptest Storm, Josphine Baker, Gypsy Rose Lee, Toni Elling, and many more gone on to inspire and create a new generation of burlesquers.
Since the 1990s, Neo-burlesque has blossomed into various categories of stage performance. Yet one element holds strong to burlesque today, as it once did before - - the striptease! This modern reincarnation of burlesque creates a space for the style, the glamour, and glitz. Adding in individuality from the performers; thus creating the subcultures we see within the burlesque of the 21st century.
As we moved into the 21st century, neo-burlesque had begun to be seen creeping onto the mainstream. Finally being seen on the big screen with Moulin Rouge in 2001 and once more in 2010 with Burlesque. This had opened the door for neo-burlesque to be openly talked about; from talk shows to coffee books. Names Like Dita Von Teese making burlesque a household term, it was a matter of how did YOU burlesque? There was seemingly a “difference” in vintage burlesque and neo-burlesque. Both having elements of a striptease; however, neo-burlesque focused on the political aspect. In the 90s, the line was bold between vintage burlesque and “underground” burlesque. Underground neo-burlesque still had those vintage-style elements, but it came with a punch!
This is where we can see burlesque being used as a platform to amplify voices in our communities. Performers were taking their burlesque to a new level by making the act about more than just the sexual elements; making the act about expressing one’s self and giving others permission to express themselves. This expression had given neo-burlesque the light it needed to grow these branches out. The glitz, glamour, exuberant costumes, elaborate headpieces, and talent in multiple forms… Who WOULDN’T want a piece of that rhinestone pie?
In the 21st century, it seems neo-burlesque is here to stay! Each state has at least one show somewhere within its borders. Each year festivals are active and performers were traveling (this is all pre-COVID-19); including Burlesque Hall Of Fame (BHOF) and Mss Exotic World. Neo-burlesque can be found in all major cities along the West and East coasts; in addition to a handful of countries (Canada, Australia, New Zealand, Japan, France, Germany, and The UK).
One element that neo-burlesque carries with it today, is the political edge. It was there in the 1920s when gals were dancing to oppose women’s suffrage; meaning that neo-burlesque is as political then as it is now. Burlesque isn’t all politics, sometimes it’s a love story about a gal and her vibe. Sometimes it’s someone sharing their body with a room full of strangers to help them love themselves. Sometimes it is the art form someone may choose to bring humor, sadness, joy, maybe fear, and maybe they want to make you think. Burlesque is what you make of it.
Throughout the years, burlesque has taken on many forms and has broken into many, many pieces. Today, you can find any niche/genre burlesque out there! Nerdlesque, Gothlesque, Grotesque Gorelesque, Punklesque, Vintage, Classic (think Minsky Brothers), Cosplay, Boylesque, and much more! No matter where you find yourself in the burlesque world, you will find the rush of the DIY elements in costuming, those rhinestones don’t glue themselves on. Another element that makes neo-burlesque a treat is the melting pot of backgrounds, walks of life and stages in life (above 21, of course). Burlesque is composed of space for all bodies, all ages, all complexions, nationalities, and identities. Burlesque gives a platform to share a piece of yourself for a brief bit of time; it can be empowering to some folx. Burlesque is truly one of the last art forms that we solely pass down verbally.
In 2020, we have seen a new wave of neo-burlesque in an online format. Performers are finding new and innovative ways to share their burlesque with others (online shows, festivals, classes, workshops, etc). Burlesque is (now) built on a community foundation, with strong, determined kinfolk working together to keep our art from dying. As the world waits with bated breath, to see what the future holds for burlesque and ourselves. This performer keeps hopes high that we will be on stage once again. Until then, do what you feel is best for you to cope while we navigate a global pandemic and social justice movement on a national, regional, local, and personal levels.
Mermaid kisses
&
Ecdysiast wishes
Xoxo
Ruby
P.S. if you can think of notable historical burlesque figures, please feel free to add in the comments or email me.
Notable figures and acts throughout the 20th century
The British Blondes
Abbott and Costello
Josephine Baker
Toni Elling
Dixie Evans
Mademoiselle Fifi
Lottie 'The Body' Graves
Gypsy Rose Lee
April March
Sally Rand
Rose Sydell
Lili St. Cyr
Tempest Storm
Evelyn West
Mae West
Zorita
The Minksy Brothers
Sources:
https://en.wikipedia.org/wiki/Category:American_Burlesque_performers
https://www.pbs.org/newshour/arts/shimmying-beat-history-performers-color-burlesque
Behind the Burly Q: The Story of Burlesque in America [Leslie Zemeckis, Blaze Starr]
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