Theatre Design & Technology - Fall 2014 - 44
"A Lobster," slide of lobster under the sea.
a reporter from the Sydney Morning Herald and reported on
January 27, 1902, it was all done to the music of Wagner's Tannhauser, with a change of image every ten seconds, until Mademoiselle Lotty was finally revealed in all her "naked" glory.
An undated catalog (c. 1907) for Moore, Bond & Co.
of Chicago lists over 800 different effects for cloak work
and for what would become the pose plastique act. These
images are mostly historic costumes (there are 500 of
these), as well as designs copied straight from the latest
Paris fashion collections.
The popularity of the pose slide act in vaudeville and
cabaret was no doubt linked to the popularity of the quickchange or costume change act. The leading protean or quickchange artist of the 1890s was the Italian Leopoldo Fregoli.
Fregoli was so fast that rumors spread that there must surely
be more than one Fregoli. Interest in the pose act must also
have been due to the revival of interest in an even older form
of performance, tableaux vivants. Originating in the attitude
performances of the famous Emma Hamilton in the 1780s,
these displays became more popular in the mid-nineteenth
century when they purported to show living representation of
great works of classical art. It comes as no surprise perhaps
that in a very short space of time the more popular repertoire
was to consist primarily of representations of Greek statuary,
with young women in the flimsiest of attire preparing for their
bath or indulging in more fleshly pursuits akin to the activities which one might have observed on the island of Lesbos.
These sleazy displays became common attractions in dime
museums and some of the seedier music halls, such as the
notorious Coal Hole in London. As a result the art form fell
out of favor generally, although it did still survive as a much
cleaner Victorian parlor pastime.
In the 1890s tableaux vivants made a public comeback.
The new practitioners, in particular Edward Kilanyi, promised
less prurient imagery and quicker scene changes, which were
achieved with the aid of complex revolving apparatus. However,
much of what was portrayed still turned out to be questionable.
One show featured a bevy of diaphanously clad nymphs being
deluged in real water, anticipating the wet T-shirt competition
by at least sixty years.
"Woman with two tigers," slide of woman in jungle wearing
blue gown with tigers at each side.
44
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Theatre Design & Technology - Fall 2014
Table of Contents for the Digital Edition of Theatre Design & Technology - Fall 2014
Contents
Theatre Design & Technology - Fall 2014 - BB1
Theatre Design & Technology - Fall 2014 - BB2
Theatre Design & Technology - Fall 2014 - Cover1
Theatre Design & Technology - Fall 2014 - Cover2
Theatre Design & Technology - Fall 2014 - 1
Theatre Design & Technology - Fall 2014 - 2
Theatre Design & Technology - Fall 2014 - Contents
Theatre Design & Technology - Fall 2014 - 4
Theatre Design & Technology - Fall 2014 - 5
Theatre Design & Technology - Fall 2014 - 6
Theatre Design & Technology - Fall 2014 - 7
Theatre Design & Technology - Fall 2014 - 8
Theatre Design & Technology - Fall 2014 - 9
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