This November I'm giving thanks for a cornucopia that's bulging over with more BOYLESK 101 Classes...
SUNDAY, NOVEMBER 11TH; 3pm-8pm
BOYLESK 101: Bared Essentials
We're back with my one-day, Boylesk intensive class focusing on the bare bones (yes, there's more than one) of male striptease! Using a variety of dance, theater, and clowning exercises, you'll get your feet wet and your fly unzipped in the world of Boylesk performance art!
Students will focus not only on how to play the stage and tease the audience with movement and striptease choreography, but also how to celebrate and tantalize a crowd with their own unique assets:
(Like I said, ASSets.)
Curious but still riding the fence?
Check out what the Huffington Post and Next Magazine have to say about me and my BOYLESK 101 Classes and you'll be riding that tie in no time!
You know, I often here, "Gee, Go-Go Harder, how do I get my package to look as perfect as yours?!"
And no friends, (sadly) its not the contents of said package I'm being questioned on, but the decorative g-strings, jock straps, and c-cups I create to enshrine my "Harder Junior."
This is a class for ANYONE--ladies too!--interested in learning more tips and tricks for Boylesk costuming and ESPECIALLY for any male performers who are looking to up the anty with a fancy "mantie"!
In "Package Perfection" we will examine a variety of hand sewing and construction techniques used to create eye-popping and junk-dropping g-strings, jock straps, and c-cups sure to leave all participants swelling with pride!
PLUS... every student goes home with a basic g-string, jock strap, or c-cup!
And if you need just a little more nudging--because who doesn't love a
good nudge every now and then--read below and see what some of the
former students of BOYLESK 101 have to say...
(BOYLESK) Jock Talk:
I've been performing since I was ten years old, and my first
boylesk performance with Go-Go's class was some of the most fun I've had
on stage in my life. Taking off your clothes for crowd of people can be
scary business, but we could not have asked for a more supportive and
encouraging teacher. Our class was a broad spectrum of body types and
experience levels, but every single one of us emerged a sexy superstar.
-Lucky Charming
"Go-Go Harder is an excellent teacher, he is attentive, supportive and
very well informed. The class is structured, organized and you will
walk away confident and well prepared. Burlesque art therapy."
Before I can teach you the A-Z of the G-String, take a moment and read my registration and cancellation policies for November's BOYLESK 101 Classes. I even accompanied them with pictures to make the experience more--ahem--excitable.
This five hour workshop will meld dance, movement, and acting principles all under that big, beautiful, see-through umbrella of STRIPTEASE!
I'm looking for any self identified, all-bodied boys and men to take part and take it off with me! You'll take home a better understanding of what exactly Boylesk or "male burlesque" involves and how YOU can begin to create your own striptease numbers.
The class info is as follows:
Who: GO-GO HARDER
What: BOYLESK 101: BARED ESSENTIALS
Where: TRISKELION ARTS:
When: SUNDAY, Nov. 11 3pm-8pm
Cost: $90
All interested students must register by FRIDAY, NOVEMBER 9TH.
*Please see Go-Go Harder's registration and cancellation policies in regards to any and all BOYLESK 101 classes and workshops below.
SUNDAY, NOVEMBER 18TH; 4-7PM
BOYLESK 101: Package Perfection!
You know, I often here, "Gee, Go-Go Harder, how do I get my package to look as perfect as yours?!"
And no friends, (sadly) its not the contents of said package I'm being questioned on, but the decorative g-strings, jock straps, and c-cups I create to enshrine my "Harder Junior."
This is a class for ANYONE--ladies too!--interested in learning more tips and tricks for Boylesk costuming and ESPECIALLY for any male performers who are looking to up the anty with a fancy "mantie"!
In "Package Perfection" we will examine a variety of hand sewing and construction techniques used to create eye-popping and junk-dropping g-strings, jock straps, and c-cups sure to leave all participants swelling with pride!
PLUS... every student goes home with a basic g-string, jock strap, or c-cup!
All interested students must register by FRIDAY, NOVEMBER 16TH.
*Go-Go Harder wants you to take away--and take off--as much as you
possibly can with BOYLESK 101 and the BOYLESK 101 Class series. That
said, he understands when last minute and unforeseen crises or
opportunities arise that may get in the way of your getting it off in
class. Go-Go Harder's refund policy is as follows: you may receive a
full refund if Harder is notified of the cancellation by the final day
of registration. This day varies with each class; Bared Essentials finishes registration on FRIDAY, November 9TH and Package Perfection finishes registration on FRIDAY, November 16TH. Any
cancellations after this date are only eligible for a 50% refund. If
you have any questions in regards to this policy, don't hesitate to ask
Go-Go Harder by writing him at info@gogoharder.com.
A recurring note I find myself giving not only in class to my students, but also to myself during my own rehearsal process, is to SLOW DOWN when choreographing a Boylesk number and indicating and teasing with its given garments and props. It sounds so obvious and is so easy to critique, but I think many performers struggle with finding moments of stillness in their numbers.
Of course its understandable. Myself and many others will say, "Sure, I love being naked onstage! Bring it on!"--and then perhaps proceed to make wild hip gesticulations like "the helicopter." But really, when I'm on stage in the middle of a number, the last thing I want to do is take a moment and STAND. STILL.
First off, in my opinion, using moments of stillness or "quietude" in a number requires double the energy of a fast paced routine. To me, standing still on stage is the ultimate one-rep-max of Burlesque. It requires me to imbue a single moment with as much focus and intensity as running back and forth across the stage floor and jumping into the splits.
And secondly, I all of a sudden become ten times more vulnerable to my audience. I'm not just batting an eye and then ripping of my shirt and running to the next voyeur; I'm purposely staying my ground and allowing everyone in the room to completely drink me in and see what I've literally got stored next up my sleeve... of course usually its what's stuffed inside my jock strap, but surely you get my point. Its this "drink me in" idea that ultimately makes stillness a huge asset to any performer's number. Not only are we technically adding another layer to our number by switching up the given tempo and rhythm of the piece, we've now caused the audience to screw their focus even more tightly around our next reveal.
And consider the audience for a moment. They're the same audience who struggles with their own previous day's distractions, spilt drinks, texting and tweeting battles, and a myriad of other problematic night club conundrums that keep them from fully taking in one's assuredly magnificently crafted striptease. Stillness then becomes not even a choice, but a demand of practically any number so that the audience may simply just understand us better. And not in a "Lifetime Original Movie Series" understanding, but in a, "Oh, I get it!" kind of way.
From teaching this current class of BOYLESK 101 students I'm especially realizing more and more just how much of a necessity stillness is to my numbers. I encourage my guys to practice breaking down a simple indication like removing a glove, a shoe, waving a hand, undoing one button into as many steps as possible. Ultimately, one won't use this technique with every item of costuming--if any at all--but I guarantee what will happen is a more strongly communicated number that's eagerly consumed by the audience.
Below is a video by one of my favorite NYC, Burly-Q ladies, Nasty Canasta. Voted second runner up at the 2010 Miss Exotic World Pageant in Las Vegas, Nevada, Nasty continually raises the bar on stripteases that are sexy AND smart. In my opinion her number featured below also demonstrates the concept of coupling stillness with incredibly detailed, economic choreography. The result is a beautifully crafted, intelligently understated final reveal most certainly worthy of a post-show smoke.
10. "So, what exactly is this "Boylesk" thing that you speak of?"
Well, Boylesk, technically speaking, is the male version of female burlesque striptease. However, unlike conventional go-go dancing or stripping, Boylesk is a performance art drawing on elements of theatre, dance, drag, and the exploration of "masculinity." Boylesk's roots stretch from early turn of the century circus and vaudeville performers to the rise and fall of New York's more scantily clad, "rent by the hour," Times Square clubs and theaters. Boylesk is comedic yet challenging, sexy yet subversive, precious yet perverted, and most definitely the SMARTER way to STRIPTEASE!
9. "Okay, but why should I take a class on taking my clothes off? That seems like a waste of time and money."
Well, truthfully speaking, maybe you shouldn't take my class (especially with that attitude)! But if you really want a reason... I created the BOYLESK 101 workshops in response to a growing number of requests from guys like me (and maybe you) who wanted to get into burlesque but were...
a) Clueless where to begin; especially since Burlesque originated as a female form and continues to be mostly female driven.
b) Frustrated creatively with their work as actors, dancers, and artists and wanting to try a different performance form.
c) Excited and aroused by the idea of using their bodies and brains to create work that is as sexy and provocative as it can be clever and humorous.
Thus BOYLESK 101 was born. My upcoming Bared Essentials workshop is an opportunity for guys to not only again experiment with a new way of creating performance art, but also see if they want to progress and invest further in the BOYLESK 101 seven week long course.
8. "So, do we like, get naked in this class. Is this a sex party?"
Two-part answer: YES, we strip in class (though not fully nude). NO, this is not a sex party, a craigslist hook-up, or a speed dating opportunity. No shame, but only those guys truly interested in Boylesk should contact me.
7. "Okay, but do I have to get naked onstage during the showcase? Do all numbers end with nudity?"
I think the whole, "to johnson or not to johnson" question applies more specifically to a given number or even the venue where the show happens. If anything, I've found that an audience is more responsive to a performer getting as close to naked as possible as opposed to going the full Monty. Remember, we're performing strip-TEASES, not strip-strips!
6. "Does Boylesk happen mostly in gay bars or clubs? Where can I see more?"
My brand of Boylesk and my teachings in general are intended for any kind of audience member. Ultimately, I see myself as an entertainer and I sincerely want to play for as many different kinds of people as possible. I think audience members should be just like the performers: different. Boylesk, like Burlesque happens all over the city in a variety of clubs and bars. Go to www.gogoharder.com and sign up for my weekly email for a listing of my upcoming shows which include male and female performers.
5. "I don't have a six pack and I don't work out; can I still take your class?"
YES! The goal of BARED ESSENTIALS and ANY Boylesk workshop I teach is to inspire you to create interesting, provocative, and entertaining stripteases on your own terms! I'm not looking to create an army of dancing Ken dolls!
4. "I'm a trans boy. Am I allowed in the class?"
Basically, if you identify as a male and you have a positive attitude, I WANT YOU IN MY CLASS!
3. "Can I make a lot of cash doing this?"
Consider it this way: no one ever tells someone who likes to draw to grow up and become a painter because he'll make lots of money, right? Ultimately for you to be successful and your work to grow, there has to be HEART in it--not just a finely contoured g-string.
2. "What makes you the expert?"
Lets get one thing straight--before we work on that snarky attitude! I do NOT consider myself an authority on Burlesque or Boylesk. That said, I think I'm a good performer. I think I have a lot of experience with a lot of different shows, numbers, and audiences and in a lot of different countries, so, do I think I can teach a course? Yes, definitely. Do I think I too still have a lot to learn as a performer? You bet!
1. I've always dreamed of doing Boylesk, but I'm really shy. What skills should a BOYLESK 101 student possess?
Here's what I think: performing either Boylesk or Burlesque requires one to merge creativity with risk, a sense of humor, a functioning cerebral cortex, and a HUGE work ethic. It sounds a little corny I know, but I'm not searching for students with classic ballet training or perfect abs (in case those were any of your concerns). I may be repeating myself, but I'm really interested in telling stories onstage with my body and my stripteases. Funny, stupid, sexy, bizarre, provocative and even gross stories. And that is the mindset with which I try to approach my classes. Yes, there are definitely "stripper" techniques and tips, but we are using elements of dance, theater, movement, circus, and even drag at times, all contained under this umbrella of "striptease."
I know we haven't even finished BOYLESK 101 yet, but I just wanted to put the word out to all you gents and boys who've contacted me about future classes about my next "undress to impress" project...
BOYLESK 101: BARED ESSENTIALS!
A one-day ONLY Boylesk workshop created to help you "get your feet wet and your fly unzipped" in the world of Boylesk striptease!
For those of you unfamiliar--but unrelentingly curious--about what exactly this "Boylesk" thing is, allow me to explain...
Boylesk, technically speaking, is the male version of female burlesque striptease. However, unlike conventional go-go dancing or stripping, Boylesk is a performance art drawing on elements of theatre, dance, drag, and exploring "masculinity" onstage in a 3-5 minute long striptease.
In BARED ESSENTIALS, we will work on the basic--and bare--tools necessary to create a Boylesk striptease including center and core work, class striptease exercises and challenges, and even brief but incredibly succinct make-up and costume demos taught by guest professionals.
Basically, BARED ESSENTIALS is five hours of learning how to be more confident, creative, sexy, and stupid onstage and win and audience's attention and adoration.
Some Frequently (and sometimes Flippantly) Asked Questions...
"Okay, but why should I take a class on taking my clothes off? That seems like a waste of time and money."
Well, truthfully speaking, maybe you shouldn't take my class (especially with that attitude)! But if you really want a reason... I created the BOYLESK 101 workshops in response to a growing number of requests from guys like me (and maybe you) who wanted to get into burlesque but were...
a) Clueless where to begin; especially since Burlesque originated as a female form and continues to be mostly female driven.
b) Frustrated creatively with their work as actors, dancers, and artists and wanting to try a different performance form.
c) Excited and aroused by the idea of using their bodies and brains to create work that is as sexy and provocative as it can be clever and humorous.
Thus BOYLESK 101 was born. The Bared Essentials class is an opportunity for guys to not only again experiment with a new way of creating performance art, but also see if they want to progress and invest further in the BOYLESK 101 seven week long course.
"So, do we like, get naked in this class. Is this a sex party?"
Two-part answer: YES, we strip in class (though not fully nude). NO, this is not a sex party, a craigslist hook-up, or a speed dating opportunity. No shame, but only those guys truly interested in Boylesk should contact me.
"I don't have a six pack and I don't work out; can I still take your class?"
YES! The goal of BARED ESSENTIALS and ANY Boylesk workshop I teach is to inspire you to create interesting, provocative, and entertaining stripteases on your own terms! I'm not looking to create an army of dancing Ken dolls!
"I'm a trans boy. Am I allowed in the class?"
Basically, if you identify as a male and you have a positive attitude, I WANT YOU IN MY CLASS!
If you've ever been titillated by the idea of Boylesk,
If you need a break from your regular artistic pursuits,
If you've got a penchant for public indecency and a knack for chewing scenery,
BOYLESK 101: BARED ESSENTIALS is for you!
For more information, questions, and registration, email me--Go-Go Harder--at info@gogoharder.com
What: BOYLESK 101: Bared Essentials!
When: SUNDAY, OCT. 7 Noon-5pm
Where: Triskelion Arts--118 N 11th St (btwn Berry/Wythe Ave), Brooklyn 11211 Conveniently located off the Bedford Stop on the L Train
Below is a handout from the first section of Boylesk 101 I taught over a year ago, revolving around the idea of the "final reveal" or the most climatic aspect of a burlesque or boylesk number. I've dusted it off and added a fresh sprinkling of glitter, plus some moving pictures to keep you interested. Enjoy!
THE FINAL REVEAL
As we continue to examine constructing a boylesk striptease
with a strong beginning, middle, and end, the “final reveal” can be considered
the ultimate climax preceding the closing of your piece—all of your pieces!
The “final reveal” is the biggest statement you want to make
to the audience; ideally, it should be as explosive, enchanting, mesmerizing,
and memorable as possible. However, before you start googling for illegal
fireworks or sewing a makeshift g-string out of flash paper, be assured that
there are just as many infinite ways to end your piece as there are to begin
it. Remember that while the audience knows you’ve come onstage to take your
clothes off, they don’t know the “why” or the “how” or for that matter, the “what”
you’ve prepared to reveal. Perhaps after a tease-filled strip you simply want
to unveil your body in the skimpiest g-string or jock, or, maybe you have an
acrobatic stunt or a surprise prop to conclude your number.
However you decide to—ahem—finish yourself off, keep in mind
that the more time you spend developing your story line, fine tuning your
costume, and and AND REHEARSING the strip with all those elements, the stronger
your final reveal will be and ultimately, your entire boylesk striptease.
Below are several examples of what I’ve labelled as specific
types of unique and crowd pleasing final reveals. As you watch the accompanying
videos, take note how these fantastic performers have structured the
choreography, costume, and the overall narrative of their numbers to climax
with these magical and incredibly entertaining finales.
The ‘Ol Bare Bum; or,
Going “Classically Commando”
Consider this: it can be argued that a classic female
burlesque number’s final reveal centers on stripping down to a g-string and
pasties (of varying size, style, and definition of those two—well, three—costume
pieces). Essentially, there’s a top and a bottom reveal. As male performers we’re
a little more limited simply because we’ve got less equipment to showcase. With
that in mind, I fully encourage (read as demand) all my students to strip down
to at least a jockstrap or g-string. To me, there’s just not enough “oomph”—ideally
it would sound more like an “ahhh”—when a male performer strips down to only full coverage underwear or boxer
briefs. Remember that as male performers we are working in a performance art
originating around the female form. If the ladies I have the privilege of sharing
the stage with are baring their all, I’m certainly not going to lower the
standard with a closing shot reminiscent of a J.C. Penny underwear catalogue.
However, on that same note of just how much of the family
treasury to circulate into currency… let it be stated that some performers
strip completely naked. Others don’t. As a performer, its important that you
never a) feel pressured to go “classically commando” and b) don’t rely simply
on “being naked” onstage to save your number. If you feel justified in baring
all, fantastic; if not, keep it that way. I always try to remind myself that a
burlesque or boylesk number is as much about the tease as it is the strip. It
helps me to liken this idea to a similar note on choreography and costuming: I’m
not going to come onstage and take a layer off every ten seconds because there’s
also no tease apparent in that scenario. If anything, what will leave your audience
screaming and cheering for more is when you actually leave them a sliver—not to
make any assumptions about your, ahh, rigging—to scream and cheer for. For male
performers, consider again the infinite possibilities of cod pieces, c-cups,
and other phallic devices that hint at your bared essentials without actually
plattering them up for the crowd.
RAY GUNN
The Phallic Prop
And speaking of phalluses, to further extend the above
thoughts, consider how you might incorporate a costume piece or prop into your
final reveal that not only relates to the overall “story” of your strip but
also one that centers around your anatomical assets. A phallic prop not only
titillates your audience by having them imagine what your real deal must be
like, but it also showcases your cleverness as a performer. To be blunt, dick
jokes abound in plenitude in adult life. Pick one and go for it! I’ve seen
fantastic final reveals involving a waffle cone, Adam with not one but TWO
shiny apples, and bananas of all shape and rhinestones.
Think of it as “meating” your audience most of the way: showcasing
a reveal that can still be comedic or sexy but always smart.
THE EVIL HATE MONKEY
Bizarre Twists
The Neo-Burlesque scene of New York City is filled with
burlesque and boylesk performers adding unusual final reveals to their numbers.
Ranging from comedic to utterly terrifying and stomach turning, such reveals
may range from the insertion or extraction of props from below the belt
orifices to stage blood or other liquid and edible properties. Personally, I
love performers who take risks in their pieces. However, ensuring that a final
reveal of this calibre is both justified AND carefully prepped and planned will
make you out as a performer who is not only willing to push boundaries but also
as one who is incredibly professional.
To begin, if you have any questions about your number and
how it may or may not work in a given space, be sure to check with the promoter
or venue to make sure your reveal is a) legal and b) works with the overall aesthetic
of the show. And as a final caveat, come prepared! Make sure the stage manager
or stage kitten is aware of your act’s needs and lead by example by bringing
any necessary towels, tarps, etc. to make your experience—and those of your
fellow performers—as smooth as possible.
JULIE ATLAS MUZ
Trick or Stunt
Extreme feats of dynamic, physical movement and choreography
can be a fantastic, crowd-awing finishing touch to your number. Your “trick”
could be as complicated as a gymnast routine or as simple and slick as jumping
into the splits—never underestimate the power of the splits! The sheer dynamic effort
on your part will amaze spectators and many times make you the darling of a
show.
Consider this: as humans, are we not continually impressed
and humbled by accomplishments we see ourselves incapable of fulfilling? You’d
be surprised how many people think they could never execute a split, back bend,
or head stand just to name a few examples.
A Caveat:
Now of course, just like the rest of your stripper choreography,
any extra physical stunt should be well rehearsed and prepped. For example, don’t
jump into the splits having not warmed up or your final reveal may come a lot sooner
than you intended. Many performers train for years to execute seemingly
effortless movements and acts of physical strength and endurance. Remember, the
ease and fluidity before you onstage is only achieved through these performers’
extreme dedication and focus.
When I was seven, a girl at my daycare let me play with her Barbie which sported a cocktail dress that transformed into a duffle bag.
When I was ten I saw "Pretty in Pink"--on T.V. people--where Molly Ringwald took one ugly prom dress and made another ugly prom dress.
When I was eleven I watched a back up dancer in a John Cougar Mellancamp music video sport a vivid shade of deep maroon lipstick.
It is my belief that these three events profoundly altered and influenced my life and continue to do so in subconscious ways...
Seriously though,
Today's class literally focused on the surface of Boylesk--as in, how a performer actually looks when he walks on stage. Referring back to the very first day of BOYLESK 101, my goal today was to impress upon my students the need to put plenty of time, energy, and thought into their costume AND make-up choices for their numbers.
Now, of course I didn't in anyway want one of my guys to leave feeling like they had to be some air-brushed, hairless, dancing Ken Doll (*number idea*); I'm a hairy, pale--I prefer "porcelain-skinned"--Boylesk-er myself. BUT, I do fastidiously trim and manicure my chest, back, and ass and also do my best to cover any skin imperfections I have on any given day. At the risk of sounding like a middle school guidance counselor, I strive to make my own personal canvas as neutral as possible. Meaning for instance, zits are zits. Whether they're on your nose or on your right butt cheek, cover them up! Body hair is beautiful, but treat it like the hair on your head and keep it coiffed--a little glitter and an electric trimmer with attachments goes a long way.
In these efforts, I was aided by Neo-Burlesque bombshell and professional make-up artist Bambi Galore who condensed years of training into a half hour presentation on basic skin care and foundations for men that left me informed, breathless, and optimistic about yellow tinted color correctors!
My thoughts on costuming are this:
1) Whether you swim in rhinestones and glitter or not, everything that a performer brings onto the stage should ideally have a heightened style. That doesn't mean it has to sparkle, but consider the pracitcal use of a rhinestone or a spotlight sequin. Sure they're pretty, they're colorful, BUT THEY ALSO CATCH LIGHT! In other words, they shine out in what are otherwise dark, dim, and crowded clubs and bars. Incorporating embellishments like these physically distracts an audience member from tweeting about being at a burlesque show and instead, causes him to actually FOCUS on the show in front of him. At least for 30 seconds or so.
I remember a grizzled, "Old Man and the Sea-esque" acting teacher of mine who one day asked me,
"Do you know why women wear lip gloss?"
I froze, slightly petrified not only by the teacher, but also the gender loaded waters he had just embarked in.
"Its simple stupid," he said. "Because it makes their lips glisten! It catches us men's attention!"
(Consider my attention captured.)
Now, regardless of whether or not my teacher was so out of touch he thought I spent my time looking at females' lips, he did make a valid point: when you're in the spotlight, make sure you shine! Let your costume shine, let your energy shine, and to a greater or lesser degree, let your face shine (or emit a dewey, "natural" glow... thanks again Bambi!)
Which brings me to my next point...
2) A beautiful costume is only as strong as its number. And likewise, a well constructed and choreographed number is incredibly amplified by a beautiful costume. There is a balance to be achieved here, a "stripping Zen state" if you will.
And...
3) Not to tangent too far into queer theory and sexual politics, but as a male performer in a predominantly female art form originated by women, I do feel a certain sense of duty to put as much time, effort, and focus into my appearance and costumes as do the hard working ladies of Burlesque. Granted, there are slips and meek efforts on both sides of the gender wheel, but I am continually inspired and humbled when I get to share a dressing room with my fellow enchanted Burlesque ladies who spend hours setting their hair, curling their eyelashes, and rhinestoneing varoius garment, pasties, and merkins (vajazzling if you will.)
A Final Thought...
I keep encouraging my students to think of their upcoming Boylesk numbers as "stripper monologues." And just like any monologue, the more one practices AND the more one accrues life experience, the more that monologues changes. So too, in my opinion, does a striptease number. For instance one ideally becomes more comfortable with his number's choreography so as to allow for surprise improvisations; or, perhaps he completely re-choreographs certain sections. So too then will his costume probably need to be altered, replaced, or in the very least, expanded upon in some fashion.
For example, below is a visual timeline of the first number I ever created: "Hot 4 Teacher." Originally a one-off for a night club where I was working as a go-go boy, I created this number with very humble means. As I began to become more interested in Boylesk and the Burlesque community, I realized I needed to invest more energy into my costume and props and try to meet the high standards being set by the professionals. You'll see what I mean...
(On Fire Island, 2010... Pretty much what you see + a sweater vest and a pair of cut-offs)
(Fall 2010: added rip away shirt, school boy shorts, and propeller hat)
(London, Spring 2011: completely new costume with specific color scheme.)
(London, Fall 2011: note embellishments on shirt and tie.)
(London, Spring 2012: further embellishing.)
(Summer 2012: additional prop.)
(Summer 2012: additional prop.)
I just recently completed another change to the costume, and have plans for more embellishments, but my point is simply this: there's always improvements to be made.
I know I feel especially inspired by the male performers featured below whose efforts definitely show in their uniquely styled and crafted costumes pieces (and, to be blunt, cock pieces.) Their attention to detail, both in their choreography and costumes, again inspires me to continue to hone my skills equally both in the rehearsal room and the sewing room.
Class number two of Boylesk 101 has come and gone just as quickly as a pair of rip-away pants... The boys and I are a little over a month out from our BOYLESK 101 SHOWCASE!
With that clothes-dropping deadline in mind, the focus of our second class centered around "indicating," or the act of drawing, capturing, and directing an audience's attention through the Boylesk striptease. Now, as I've mentioned before, these and the following comments and definitions are mine and my opinion only; that said, I stressed to my students the need to think of themselves as one-man indicating machines. As Burlesque and Boylesk performers, we are the ultimate producers of our work. Thus, we're not simply responsible for how our clothing comes off, but also the very costume pieces themselves, not to mention our music, props and any additional stage spectacles or magic we're bringing to our performance. Whether I physically sew the g-string myself or have a fellow performer cut and edit my music, when it comes to showtime, the ultimate responsibility for executing my number lies on my finely oiled, glittered shoulders.
So, to give my students (and myself) a launching point for creating a number and with a little help from Webster's Dictionary--it never hurts to consult a pro--this is my definition of indicating...
Indicating:
1) The utilization of clear, dynamic gestures and movement to FOCUS and DIRECT an audience's attention.
2) The incorporation of extremely strong, vivid, and provocative imagery and sound elements to suggest emotional qualities and feelings. Examples include choice of music, costuming, and in general any and all stage spectacle.
(And while I know I didn't describe the parts of speech I'm referencing, I'm not necessarily concerned with those parts...)
Finally, in our class exercises, I challenged my students with three other basic elements of movement to consciously incorporate into their physical staging: tempo, rhythm, and planar variations; i.e., we explored the speed, movement pattern, and physical level of taking off a piece of clothing.
These elements are already apparent in our every day life as well as any numbers a performer may already have under his belt... or tucked inside a jockstrap. By singling these principles out individually in our group exercises, I hope to drive home the message that ultimately, its important to find movement variations in your act. It's an obvious principle, but if we already walk, chew, brush our teeth, even swipe a metro card in a particular manner, might those physical habits also manifest themselves onstage?
I know mine do. Which is why I continually ask myself, "How can I remove this shirt in a different manner than I'm used to and how can I then transition into my left boot using a completely different tempo, rhythm, and movement plane?"
(Also a good question to ask oneself: "What can my garment become after I've removed it?" Like oh, say, an uzi.)
The videos I've chosen for my students to review in my opinion not only exemplify these above statements but also manage to do so in a very personal, unconventional manner.
And... as an extra little treat, I've also included what some may consider to be "conventional" choreography by the all male Australian dance crew "Thunder from Down Under" AND, a "Step-By-Lap" tutorial on giving an effective lap dance. However, what I honestly love about these videos is that they a) break down movement in clear, understandable, and teachable steps and b) encourage the thought--in my opinion--that stripping onstage can (and should) incorporate just as many basic principles of movement as it can a more formal dance technique.
