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Marisa Carnesky, Showwoman

image of Marisa Carnesky, Showwoman

This chapter positions Carnesky's performances to date, as she suggests, as ‘work’ at the intersection of aesthetic show-making and commercial show-business, in order to explore what it is that she is attempting to present and make present, how she does so, and why it matters. According to Carnesky, they ‘are always in the same vein but with a different emphasis: cultural identity as it lives in the unconscious, folklore, ritual, sexual performance and the politics that surround women's bodies as entertainment’ (Carnesky 2012). Similarly, she has been consistently fascinated by a particular aspect of ‘Showwomanry’: that which uses ‘the abject, the taboo and the forbidden to create spectacle and magic’ (Carnesky 2015).

Keywords: avant-garde performance ; feminist art ; fun fair ; Jewish ; Josephine Machon ; Julia Kristeva ; live art ; magic ; Manual Vason ; Richard Schechner ; ritual ; Rogan Taylor ; sexual performance ; Showwomanry ; variety entertainment

Paperback ISBN: 9781835950104
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Marisa Carnesky, Showwoman
Intellect , 56 (2024); https://bibliotheek.ehb.be:2102/10.1386/9781835950104_7
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References

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References

  1. Aston, E. and Harris, G. (2013), A Good Night Outfor the Girls, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  2. Baird, S. (2007), ‘The A-Z of Burlesque’, Time Out, 1 May, available at https://www.timeout.com/london/cabaret/the-a-z-of-burlesque. Accessed 1 April 2017.
     [Google Scholar]
  3. Bayley, B. (2000), ‘The queer carnival: Gender transgressive images in contemporary queer performance and their relationship to carnival and the grotesque’, Ph.D. thesis, University of Exeter, available at http://www.brucebayley.co.uk/The_Queer_CarnivalBruce_Bayley_2000.pdf. Accessed 6 August 2017.
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  4. Bayley, C. (1995), ‘I’ll be banned if I will’, The Independent, 3 June, available at https://www.independent.co.uk/arts-entertainment/ill-be-banned-if-i-will-1584805.html. Accessed 5 May 2017.
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  5. Beadle, R. and Konyot, D. (2016), ‘The man in the red coat: Management in the circus’, in P. Tait and K. Lavers (eds), The Routledge Circus Studies Reader, Abingdon: Routledge.
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  6. Bouissac, P. (2012), Circus as Multimodal Discourse: Performance, Meaning, and Ritual, New York: Bloomsbury.
     [Google Scholar]
  7. Brennan, M. (1999), ‘Challenge of the tattooed lady’, The Herald, 26 November, available at http://www.heraldscotland.com/news/12204891.Challenge_of_the_tattooed_lady_Mary_Brennan_explores_Jewish_culture__faith__and_body_art_with_Marisa_Carnesky/. Accessed 4 April 2017.
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  9. Bruns, L. C. and Zompetti, J. P. (2014), ‘The rhetorical goddess: A feminist perspective on women in magic’, JournalofPerformanceMagic, 2:2, pp. 8–39, available at http://eprints.hud.ac.uk/id/eprint/22906/. Accessed 16 April 2018.
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  10. Carnesky, M. (2002), ‘Artist statement’, in M. Vason, L. Keidan, and D. Brine (eds), Exposures, London: Black Dog, n. p.
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  11. Carnesky, M. (2012), Email to author, 15 August.
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  24. Garber, M. (1999), Symptoms of Culture, London: Penguin.88
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  25. Gardner, L. (2003), ‘The Girl From Nowhere, Riverside Studios, London’, The Guardian, 27 June, available at https://www.theguardian.com/stage/2003/jun/27/theatre.artsfeatures. Accessed 1 June 2018.
     [Google Scholar]
  26. Gardner, L. (2004a), ‘Carnesky's Ghost Train, Old Truman Brewery, London’, The Guardian, 4 August, available at https://www.theguardian.com/stage/2004/aug/04/theatre. Accessed 12 May 2016.
     [Google Scholar]
  27. Gardner, L. (2004b), ‘Smoke and mirrors’, The Guardian, 4 May, available at https://www.theguardian.com/stage/2004/may/04/theatre1. Accessed 12 May 2016.
     [Google Scholar]
  28. Jodorowsky, A. and Costa, M. (2009), The Way ofTarot: The Spiritual Teacher in the Cards (trans. Jon E. Graham), Rochester, Vermont: Destiny Books.
     [Google Scholar]
  29. Johnson, D. (2015), ‘Performance, photography, collaboration, revisited: A history of Manual Vason’, in M. Vason and D. Evans (eds), Double Exposures, London & Bristol: Live Art Development Agency and Intellect Books, pp. 21–30.
     [Google Scholar]
  30. Kristeva, J. (1982), Powers of Horror: An Essay on Abjection (trans. L. S. Roudiez), New York: Columbia University Press.
     [Google Scholar]
  31. Ladnar, D. (2014), ‘The lecture performance: Contexts of lecturing and performing’, Ph.D. thesis, Aberystwyth University, available at http://cadair.aber.ac.uk/dspace/handle/2160/14051. Accessed 20 August 2018.
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  32. Lefkovitz, L. H. (1995), ‘Eavesdropping on angels and laughing at God: Theorizing a subversive matriarchy’, in T. M. Rudavsky (ed.), Gender and Judaism: The Transformation ofTradition, New York: New York University Press.
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  33. Live Art Development Agency (n.d.), ‘What is live art?’, available at http://www.thisisliveart.co.uk/about/what-is-live-art/. Accessed 1 April 2017.
     [Google Scholar]
  34. Machon, J. (2009), (Syn)aesthetics: Redefining Visceral Performance, Basingstoke: Palgrave Macmillan.
     [Google Scholar]
  35. Machon, J. (2012), ‘Experiential identities in the work of Marisa Carnesky’, in S. Broadhurst and J. Machon (eds), Identity, Performance and Technology: Practices of Empowerment, Embodiment and Technicity, Basingstoke: Palgrave Macmillan, pp. 111–25.
     [Google Scholar]
  36. Machon, J. (2016), ‘Immersed in illusion, haunted by history: Marisa Carnesky's Ghost Train’, in O. Jenzen and S. R. Munt (eds), The Ashgate Research Companion to Paranormal Cultures, London & New York: Routledge, pp. 241–54.
     [Google Scholar]
  37. Mangan, M. (2007), Performing the Dark Arts: A Cultural History of Conjuring, Bristol: Intellect.
     [Google Scholar]
  38. Mangan, M. (2010), ‘“Welcome to the house of fun”: Eros, Thanatos and the uncanny in grand illusions’, in K. Gritzner (ed.), Eroticism and Death in Theatre and Performance, Hatfield: University of Hertfordshire Press, pp. 160–177.
     [Google Scholar]
  39. McLaren, J. (2012), ‘Interview: Marisa Carnesky talks to Run Riot about her much anticipated new show Carnesky's Tarot Drome’, Run Riot, 19 July, available at http://www.runriot.com/articles/blogs/interview-marisa-carnesky-talks-run-riot-about-her-much-anticipatednew-show-carnesky. Accessed 1 March 2017.
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     [Google Scholar]
  41. McNamara, B. (1974), ‘Scenography of popular entertainment’, The Drama Review, TDR, 18:1, pp. 16–24.
     [Google Scholar]
  42. Mock, R. (2008), ‘Vaginal voyages: Performances of sexuality and the Jewish female body’, in N. Abrams (ed.), Jews & Sex, Nottingham: Five Leaves Publications, pp. 162–176.
     [Google Scholar]
  43. Osborne, E. A. and Woodworth, C. (2015), ‘Introduction: The world of play in performance’ in E. A. Osborne and C. Woodworth (eds), Working in the Wings: New Perspectives on Theatre History and Labor, Carbondale: Southern Illinois University Press, pp. 1–20.
     [Google Scholar]
  44. Palmer, J. (2004), ‘Expensive thrills’, New Statesman, 14 June, available at https://www.newstatesman.com/node/159984. Accessed 1 April 2018.
     [Google Scholar]
  45. Pfefferman, N. (2003), ‘Staging a body of work’, Jewish Journal, 26 September, available at https://jewishjournal.com/culture/arts/8471/. Accessed 8 April 2017.
     [Google Scholar]
  46. Prior, D. M. (2000), ‘Le Freak - C’est Chic’, Total Theatre, 12:2 Summer, pp. 8–9.
     [Google Scholar]
  47. Purves, L. (2012), ‘Carnesky's Tarot Drome at Old Vic Tunnels, SE1’, The Times, 7 September, available at https://www.thetimes.co.uk/article/carneskys-tarot-drome-at-old-vic-tunnels-se1fw6hkdfm3xs. Accessed 20 March 2017.89
     [Google Scholar]
  48. Rayner, A. (2006), Ghosts: Death's Double and the Phenomena ofTheatre, Minneapolis: University of Minnesota Press.
     [Google Scholar]
  49. Rees, J. (2004), ‘Ghost train that's a work of art’, The Telegraph, 2 August, available at http://www.telegraph.co.uk/culture/art/3621709/Ghost-train-thats-a-work-of-art.html. Accessed 1 September 2011.
     [Google Scholar]
  50. Schechner, R. (2013), Performance Studies: An Introduction, 3rd ed., London & New York: Routledge.
     [Google Scholar]
  51. Sklaroff, L. R. (2018), Red Hot Mama: The Life of Sophie Tucker, Austin: University of Texas Press.
     [Google Scholar]
  52. Sturges, F. (2009), ‘An act of Paloma Faith’, The Independent, 11 September, available at https://www.independent.co.uk/arts-entertainment/music/features/an-act-of-paloma-faith1785104.html. Accessed 4 December 2018.
     [Google Scholar]
  53. Taylor, R. (1985), The Death and Resurrection Show, London: Anthony Blond.
     [Google Scholar]
  54. Trueman, M. (2010), ‘Guarded and susceptible’, Culture Wars, 8 November, available at http://www.culturewars.org.uk/index.php/article/guarded_and_susceptible/. Accessed 2 December 2018.
     [Google Scholar]
  55. Wagner, C. (2017), ‘Replicating venus: Art, anatomy, wax models, and automata’, Interdisciplinary Studies in the Long Nineteenth Century, available at https://ore.exeter.ac.uk/repository/handle/10871/26734. Accessed 5 December 2018.
     [Google Scholar]
  56. Walters, B. (2016), ‘Summon the courage: Marisa Carnesky on fighting with theatre’, Run Riot, 17 October, available at http://www.run-riot.com/articles/blogs/summon-courage-marisa-carneskyfighting-theatre. Accessed 8 April 2017.
     [Google Scholar]
  57. Willson, J. (2015), Being Gorgeous: Feminism, Sexuality and the Pleasures of the Visual, London: I.B. Tauris.90
     [Google Scholar]

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