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<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><i><span style="font-family:"Calibri","sans-serif"">Canadian Theatre Review</span></i><span style="font-family:"Calibri","sans-serif""><br>
Volume 158, Spring 2014<b><br>
</b><a href="http://bit.ly/PMctr158">http://bit.ly/PMctr158</a><b><o:p></o:p></b></span></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<b><span style="font-family:"Calibri","sans-serif";color:black">Burlesque</span></b><i><span style="font-family:"Calibri","sans-serif";color:black"><br>
Edited by Shelley Scott and Reid Gilbert<o:p></o:p></span></i></p>
<p class="BasicParagraph" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;line-height:normal">
<i><span style="font-family:"Calibri","sans-serif"">CTR</span></i><span style="font-family:"Calibri","sans-serif"">#158 offers an extended conversation about burlesque in Canada, from archival photos and historical contextualization to the most current interpretations
of what neo-burlesque can be and what it can do. The audacious urban experience of Montreal lives beside the off-the-grid exuberance of Lasqueti Island. The details of costume construction in ancouver are considered alongside legal definitions that dictatecostumes
in Calgary. <o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">The issue offers an in-depth exploration of Toronto’s Operation Snatch, formerly The Scandelles, with two articles that chart the
company’s trajectory from burlesque to political cabaret, a Scandelles script, and an interview with founder Alexandra Tigchelaar. Also exclusively online, Adriana Disman has curated a dialogue among socially conscious performers using neo-burlesque for social
change. Whether conveying the experience of a male burlesque performer or drawing parallels with the community-building appeal of roller derby, the authors in this issue dissect, interrogate, and expand the definitions of burlesque.<b>
</b><span style="color:gray"><o:p></o:p></span></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-size:11.0pt;font-family:"Arial","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">This issue contains:<o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Teasing, Transgressing, Defining—Broadening the Spectrum of Sexy<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Shelley Scott, Reid Gilbert
<br>
<a href="http://bit.ly/PMctr158a">http://bit.ly/PMctr158a</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Burlesque is the term used throughout this issue, although the word meant something very different before and after the year 1868,
when Lydia Thompson and her British Blondes made their New York debut. <a href="http://bit.ly/PMctr158a">
Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">In Search of a Different History: The Remains of Burlesque in Montreal<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Joanna Mansbridge
<br>
<a href="http://bit.ly/PMctr158b">http://bit.ly/PMctr158b</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Taking Elin Diamond’s and Rebecca Schneider’s recent work in drama and performance studies as a starting point, this essay looks
at two eras of burlesque in Montreal—the 1940s-50s and 2012—tracing a shifting landscape of popular entertainment, politics, religion, and social attitudes toward female sexuality.
<a href="http://bit.ly/PMctr158b">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">“Well, Melody, what is your skirt gonna turn into now?”: An Interview with Melody Mangler<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Ines Ortner
<br>
<a href="http://bit.ly/PMctr158c">http://bit.ly/PMctr158c</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Melody Mangler is a highly acclaimed burlesque performer, teacher, costumer, and writer from Vancouver. In 2009, the Burlesque Hall
of Fame recognized her talents with the “Best Debut” Award for her outstanding performance piece Venus in Spring.
<a href="http://bit.ly/PMctr158c">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Backwoods Burlesque: Off-the-Grid Tsk Tsk</span></b><u><span style="font-family:"Calibri","sans-serif";color:black">
</span></u><span style="font-family:"Calibri","sans-serif";color:black"><br>
</span><span style="font-family:"Calibri","sans-serif";color:black">Bronwyn Preece
<br>
<a href="http://bit.ly/PMctr158d">http://bit.ly/PMctr158d</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">The
<i>Tsk Tsk Revue</i> has become an annual one-night event—perhaps now more accurately described as a phenomenon— in the 350-peopled, entirely off-the-grid island of Lasqueti, BC, developing into a Gulf islands’ touring show. Teeming with brazen backwoods humour
and localized, alternatively-powered erotics, the <i>Tsk Tsk Revue</i> has rightfully earned a unique place on the national burlesque scene.
<a href="http://bit.ly/PMctr158d">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Stuck to the Pole: Raven Virginia and the Redefinition of Burlesque in Calgary<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Jamie Dunsdon
<br>
<a href="http://bit.ly/PMctr158e">http://bit.ly/PMctr158e</a></span><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Raven Virginia thinks of burlesque and exotic dance as “sisters who come from the same rich and beautiful history” but cautions
against confusion between the two forms. <a href="http://bit.ly/PMctr158e">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><a href="http://muse.jhu.edu/journals/canadian_theatre_review/v158/158.whitehead.html"><b><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Are You
Staring at the Size of My Gimmick? Applying Burlesque Conventions to a Different Anatomy
</span></b></a><b><span style="font-family:"Calibri","sans-serif";color:black"><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Jay Whitehead
<br>
<a href="http://bit.ly/PMctr158f">http://bit.ly/PMctr158f</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">A former “boylesque” performer explores his personal experiences within the Toronto-based male burlesque company Boylesque TO, examining
the presentation of male bodies in traditional and contemporary burlesque. <a href="http://bit.ly/PMctr158f">
Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Neo-Burlesque and the Resurgence of Roller Derby: Empowerment, Play, and Community<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">David Owen
<br>
<a href="http://bit.ly/PMctr158g">http://bit.ly/PMctr158g</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">In both neo-burlesque and roller derby, there is a two-way communication between the audience (both male and female) and the performers/athletes
that celebrates what the women (and sometimes men) on stage and on the track are doing.
<a href="http://bit.ly/PMctr158g">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Extinguishing the “Temptation of Monetary Inducements”: The State Regulation and Stigmatization of Adult Entertainment
Recruiters on Post-secondary Campuses in British Columbia<u> </u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Becki Ross, Oralia Gómez-Ramírez
<br>
<a href="http://bit.ly/PMctr158h">http://bit.ly/PMctr158h</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">In this article, we explore the directive issued in August 2012 by the Minister of Advanced Education in British Columbia to ban
“aggressive” adult entertainment recruiters from campus job fairs. <a href="http://bit.ly/PMctr158h">
Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Re-Vamping History: Neo-Burlesque and Historical Tradition<u>
</u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Alexis Butler
<br>
<a href="http://bit.ly/PMctr158i">http://bit.ly/PMctr158i</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Considering two performance trajectories that have emerged from the varied dramaturgical history of the burlesque genre, epitomized
by superstar Dita Von Teese and by the Toronto collective The Scandelles, this article demonstrates how neo-burlesque can usefully be divided into that which approaches burlesque as a noun and that which deploys it as a verb.
<a href="http://bit.ly/PMctr158i">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">An Interview with Alex Tigchelaar, Formerly Sasha Van Bon Bon of The Scandelles<u>
<br>
</u></span></b><span style="font-family:"Calibri","sans-serif";color:black">Alexis Butler
<br>
<a href="http://bit.ly/PMctr158j">http://bit.ly/PMctr158j</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">Alex Tigchelaar, formerly Sasha Van Bon Bon of the Toronto neo-burlesque collective The Scandelles, discusses the early days of
Toronto neo-burlesque, her classy vagina, social renegades & queering history, sobriety, and other stops on her journey towards artistic confidence.
<a href="http://bit.ly/PMctr158j">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">“You’re Just a Stripper that Came Out of a Time Machine”: Operation Snatch’s Queer World-Making and Sex-Working Class
Politics<u> </u><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Sarah Mann
<br>
<a href="http://bit.ly/PMctr158k">http://bit.ly/PMctr158k</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><span style="font-family:"Calibri","sans-serif"">This essay explores the queer world of Toronto’s Operation Snatch (formerly known as The Scandelles), focusing in particular on
two of their productions related to sex work, <i>Les Demimondes</i> and <i>Neon Nightz</i>.
<a href="http://bit.ly/PMctr158k">Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">Script<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><a href="http://muse.jhu.edu/journals/canadian_theatre_review/v158/158.tigchelaar.html"><b><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Neon
Nightz </span></b></a><b><span style="font-family:"Calibri","sans-serif";color:black"><br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Alexandra Tigchelaar
<br>
<a href="http://bit.ly/PMctr158l">http://bit.ly/PMctr158l</a><o:p></o:p></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><i><span style="font-family:"Calibri","sans-serif"">Neon Nightz</span></i><span style="font-family:"Calibri","sans-serif""> examines paradoxical notions of worship and intimacy
in the sacred yet profane places in which we explore the ideologically linked emotions of desire and shame. It asks the question, is the strip club so different from the holy confession? When oppression, rather than necessity, is viewed as the mother of invention,
what do people invent to subvert its tyranny? <a href="http://bit.ly/PMctr158l">
Read more</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif"">Views and Reviews<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Editorial
<br>
</span></b><span style="font-family:"Calibri","sans-serif";color:black">Jenn Stephenson
<br>
<a href="http://bit.ly/PMctr158m">http://bit.ly/PMctr158m</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><i><span style="font-family:"Calibri","sans-serif";color:black">Miss Toronto Acts Back</span></i></b><b><span style="font-family:"Calibri","sans-serif";color:black">: Observing
and Thinking in Montage<u> </u><br>
</span></b><a href="http://muse.jhu.edu/results?section1=author&search1=Heather%20Fitzsimmons%20Frey"><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Heather Fitzsimmons Frey</span></a><span style="font-family:"Calibri","sans-serif";color:black">
<br>
<a href="http://bit.ly/PMctr158n">http://bit.ly/PMctr158n</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">Chika Modum.
<i>identity:</i> <i>borrowed, enlarged, projected, traced and modified</i><u> </u>
<br>
</span></b><a href="http://muse.jhu.edu/results?section1=author&search1=Richard%20Smolinski"><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Richard Smolinski</span></a><span style="font-family:"Calibri","sans-serif";color:black">
<br>
<a href="http://bit.ly/PMctr158o">http://bit.ly/PMctr158o</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">(Dis)Embodied Authority in
<i>White Rabbit, Red Rabbit</i><u> </u></span></b><b><span style="font-family:"Calibri","sans-serif""><br>
</span></b><span style="color:black"><a href="http://muse.jhu.edu/results?section1=author&search1=Kelsey%20Jacobson"><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Kelsey Jacobson</span></a></span><span style="font-family:"Calibri","sans-serif";color:black">
<br>
</span><span style="font-family:"Calibri","sans-serif""><a href="http://bit.ly/PMctr158p">http://bit.ly/PMctr158p</a><b><o:p></o:p></b></span></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:#7F7F7F;mso-style-textfill-fill-color:#7F7F7F;mso-style-textfill-fill-alpha:100.0%">Online Feature<o:p></o:p></span></b></p>
<p class="MsoNormal" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto"><b><span style="font-family:"Calibri","sans-serif";color:black">The Politics of Burlesque: A Dialogue Among Dancers<u>
</u><br>
</span></b><a href="http://muse.jhu.edu/results?section1=author&search1=Adriana%20Disman"><span style="font-family:"Calibri","sans-serif";color:black;text-decoration:none">Adriana Disman</span></a><span style="font-family:"Calibri","sans-serif";color:black"><br>
<a href="http://bit.ly/PMctr158q">http://bit.ly/PMctr158q</a> <o:p></o:p></span></p>
<div class="MsoNormal" align="center" style="mso-margin-top-alt:auto;mso-margin-bottom-alt:auto;text-align:center">
<span style="font-family:"Calibri","sans-serif"">
<hr size="2" width="100%" align="center">
</span></div>
<p><a href="http://muse.jhu.edu/index.html"><b><span lang="EN" style="font-size:12.0pt;font-family:"Calibri","sans-serif"">Project MUSE</span></b></a><span lang="EN" style="font-size:12.0pt;font-family:"Calibri","sans-serif""> is a unique collaboration between
libraries and publishers, providing 100% full-text, affordable and user-friendly online access to a comprehensive selection of prestigious humanities and social sciences journals. MUSE's online journal collections support a diverse array of research needs
at academic, public, special and school libraries worldwide. <o:p></o:p></span></p>
<p class="MsoNormal" style="margin-top:12.0pt;background:white"><span style="font-family:"Calibri","sans-serif";color:black">For more information about the
<i>Canadian Theatre Review</i>, please visit us at </span><a href="http://www.canadiantheatrereview.com"><span style="font-family:"Calibri","sans-serif"">www.canadiantheatrereview.com</span></a><span class="MsoHyperlink"><span style="font-family:"Calibri","sans-serif""><o:p></o:p></span></span></p>
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