In our column How To Burlesque, Miss Frankie Tease, left, brings you tips and advice on a mishmash of burly topics. Today, she dishes on how to approach basic choreography.
There are two approaches to choreography: one is to have the music first, the other is to have the costume and then find music to fit. This all depends upon the nature of the situation. If you are preparing for a show, they may ask you to choreograph to specific music. In this case the costume will be tailored to the music assignment. If you have your costume or prop first, then you will be searching for the tunes that accompany your idea. Mainly go in search of the mood that you want to convey with your prop, find music to match it. Many advanced and successful performers tend to use music without words, so that they are actually the star of the song, not the words, but this is by no means a rule. Just something I've noticed through time. This allows some tight and some looser choreography. In other words, the audience wouldn't know if you missed a cue, because there are no lyrics, just instruments.
I like to take things in simple sections: beginning, middle, and end. If you have a prop that you need to work into your act then listen to the song with intent to discover how it works in. Is there a natural point where it goes together? If you have a reveal or strip tease trick that you want to accomplish, make this toward the end way after the middle.
Treat the three sections as: ONE: Warm-Up/Strut TWO: Surprise or trick THREE: Reveal/Finale'. Keeping things simple will make your act remembered. Making sure the audience can follow you and not going too fast is an important part of choreography. If it's too fancy or fast, they might actually miss what you're doing, and it's for them so that's not good. Complicated is good, but make sure you've established a little rapport with your audience before launching anything too tricky. It allows them to warm up to you and gets them ready to really take in what you have to show!
Thursday, December 16, 2010
Wednesday, December 15, 2010
Tuesday, December 14, 2010
Revealing Images: Selene Luna
In Revealing Images, photographer Don Spiro dishes up sweet photographic treats and the stories behind them. Today, Don aims his lens at Selene Luna, currently of the Margaret Cho show
One of my favorite shots I’ve done was of Selena Luna for Augusta’s Velvet Hammer documentary. Augusta directed her as her burlesque persona, Bobby Pinz, in a humorous homage to Attack of the Fifty Foot Woman.
Because of the requirements of the shoot everything was based around a location that would work, and we found one in the hills of Burbank that was both secluded and offered a low horizon line. This was critical because we intended to use forced perspective to make Selene appear gigantic, which depended on having a background clear of objects that would destroy the illusion. The angle was chosen carefully to exploit the natural advantages of the set. The crew was small, just Selene, Augusta, our make up artist and myself.
The position of the sun was up to frame left at the time we chose to shoot, and its arc would stay on that side all day, so I used that as the key light. While Selene got into make up and wardrobe Augusta designed the set: small, scale toy buildings and lichen from a model railroad, which Selene would walk amongst and occasionally crush. I set the camera down near ground level, which would simulate eye level of the buildings, and put on a wide angle lens to shoot looking up at Selene as she posed. I kept the camera mostly horizontal to emulate the aspect ratio of movies and tv.
The way Augusta had placed the set enabled us to incorporate actual elements in the distance, including far away trees, hills, and even telephone poles. Due to the angle they didn’t appear so much far away as they did small in comparison to Selene. They seemed the same scale as our small model buildings.
Because there were no clouds, just a bright blue sky, the sun threw hard shadows in high contrast. To make the image more flattering a large white bounce-board filled in from the right side of the frame. The image was taken with 400 speed color film exposed at 320 to reduce grain a bit, but the fast speed let me to shoot at an aperture of f/22, allowing for maximum depth of field. I wanted everything to be in focus from the ground at Selene’s feet to the far distant tree tops.
During the video sequence a helicopter slowly crossed the frame, very far away. At our angle it appeared to be near Selene’s waistline, further extending the illusion of her as a giant. Because of the video aspect of the shoot everything had to be done in-camera, and I am glad that the stills were done the same way, without benefit of post production. To me, the illusion is best when a model can interact with an actual environment.
~Don Spiro
One of my favorite shots I’ve done was of Selena Luna for Augusta’s Velvet Hammer documentary. Augusta directed her as her burlesque persona, Bobby Pinz, in a humorous homage to Attack of the Fifty Foot Woman.
Because of the requirements of the shoot everything was based around a location that would work, and we found one in the hills of Burbank that was both secluded and offered a low horizon line. This was critical because we intended to use forced perspective to make Selene appear gigantic, which depended on having a background clear of objects that would destroy the illusion. The angle was chosen carefully to exploit the natural advantages of the set. The crew was small, just Selene, Augusta, our make up artist and myself.
The position of the sun was up to frame left at the time we chose to shoot, and its arc would stay on that side all day, so I used that as the key light. While Selene got into make up and wardrobe Augusta designed the set: small, scale toy buildings and lichen from a model railroad, which Selene would walk amongst and occasionally crush. I set the camera down near ground level, which would simulate eye level of the buildings, and put on a wide angle lens to shoot looking up at Selene as she posed. I kept the camera mostly horizontal to emulate the aspect ratio of movies and tv.
The way Augusta had placed the set enabled us to incorporate actual elements in the distance, including far away trees, hills, and even telephone poles. Due to the angle they didn’t appear so much far away as they did small in comparison to Selene. They seemed the same scale as our small model buildings.
Because there were no clouds, just a bright blue sky, the sun threw hard shadows in high contrast. To make the image more flattering a large white bounce-board filled in from the right side of the frame. The image was taken with 400 speed color film exposed at 320 to reduce grain a bit, but the fast speed let me to shoot at an aperture of f/22, allowing for maximum depth of field. I wanted everything to be in focus from the ground at Selene’s feet to the far distant tree tops.
During the video sequence a helicopter slowly crossed the frame, very far away. At our angle it appeared to be near Selene’s waistline, further extending the illusion of her as a giant. Because of the video aspect of the shoot everything had to be done in-camera, and I am glad that the stills were done the same way, without benefit of post production. To me, the illusion is best when a model can interact with an actual environment.
~Don Spiro
Friday, December 10, 2010
The Candy Gram: Stormy Leigh
In our ongoing Q&A series --"The Candy Gram"-- we ask the same quirky questions of burlesque's various performers. If you want to be added to the mix, drop us a line at kellydinardo AT gmail DOT com. Today, say hello to Tucson's Stormy Leigh.What is your hometown?
Tucson, Arizona.
How long have you been interested in burlesque/performing?
As a little girl I always enjoyed playing dress-up with a collection of vintage 50's and eccentric 60' era clothing my mom gave me. I think that must have stirred something in me! When burlesque came to Tucson in 2006 I had to give it a try, even though the thought of being nearly naked in a room full of strangers absolutely terrified me.
How many pairs of pasties do you own?
Probably close to twenty pair, including a few pair of ass tassels. I've coated them all in rhinestones and many of them also have hand-strung beaded tassels. They're truly boob (and butt) jewelry!
What are your three favorite songs to perform to?
Zorba the Greek by Herb Alpert
I'll Have What She's Having by The Millionaire
La Cucaracha by Manual Rivera and His Orchestra
What three items could you not live without as a performer?
False eyelashes, a sparkly costume, and my pasties.
Who had the biggest influence on your career?
My influences are all over the map! Comedians such as Benny Hill, Carol Burnett, Gilda Radner, Lucille Ball, and Bob Newhart are probably my biggest influences though. Then there were the countless musicals and old movies my dad and I watched together when I was little, with stars such as Cyd Charrise, Mae West, Fred Astaire, Carol Channing, Liza Minnelli, Gene Kelley, Ann Miller... I could go on and on! Also, all my fellow Black Cherry Burlesque troupe members, past and present have been, and continue to be an incredible inspiration to me as well.
Who is your favorite burly queen?
Past: Ricci Cortez. Present: Dirty Martini.
What is your favorite item of clothing?
Burlesque: My gold bra and hip wrap coated with pearl beads and mini tassels from my Greek Statue costume. Daily wear: Jeans, a t-shirt, and practical shoes.
What's the last movie you saw?
The 40-Year-Old Virgin, again! I like to put that one on while I cook dinner/sort laundry/be domestic around the house.
What's on your must-see-TV list?
I don't watch tv like I used to but still take time to catch David Letterman every now and then.
What book is on your nightstand?
Pretty Things by Liz Goldwyn. I really love this book.
If you could go anywhere for vacation, where would you go?
Someday I'd love to visit Italy and Greece, it would thrill me to no end to be able to see the Roman Colosseum and the Greek Temples in person.
If you could have any superpower, which one would you want? Why?
Time/space travel in a Delorean just like in Back to the Future! Imagine the possibilities... Getting to truly experience what life was like in simpler times, witnessing historic events, playing winning lottery numbers, ha ha...
Satisfy your appetite for more Candy Grams: Maria May I, La Cholita, Gentry de Paris, Jade Pearl, Kitten DeVille, Miss C, Immodesty Blaize, Nasty Canasta, Vivienne Vermuth, Scarlett James, Tura Santana, Tatah DuJour, Susie Caboose, Gigi La Femme, Kitten on the Keys, Virginia D'Vine, Tamara the Trapeze Lady, Champagne Sparkles, Selia Carmichael, Pyra Sutra, Roxi Dlite, Scarlet O'Gasm, Bombshell Betty, Foxy Moxy, Bambi Galore, Mis Rosie Bitts, Sahara Dunes, Mimi Rockafellar, Baby Le Strange, Rose Darling, Satan's Angel, Ophelia Flame, Panache La Plume, Ginger Valentine, Madame Rosebud, Little Brooklyn, Victoria Veneance, Sauci Calla Horra, Penny Starr Jr., Gemma Parker, Darla DeVine, Sparkly Devil, Vivienne VaVoom, Lux LaCroix, Charlotte La Belle Araignee, Bunny Love, Amber Topaz, Amelie Soleil, Red Hot Annie, HoneyLu, Kimberlee Rose, Vicky Butterfly, Dominique Immora, Yasmine Vine, Cherry Bomb, Millie Dollar, Joanie Gyoza, Bonbon Vivant, Lola Martinet, Frankie Boudoir, Vixen Violette, Ravenna Black, Veronica Lashe, Amber Ray, Beatrix von Bourbon, Angie Pontani, Tanya Cheex, Bloody Belle, Clams Casino, Trixie Little, Michelle L'Amour, Margaret Cho, Miss Dirty Martini, Princess Farhana, Miss Delirium Tremens, Paris Green, Jo Boobs, Jack Midnight, Heidi Von Haught, Diamond Minx, The Titillation Twins, Scratch, Creamy Stevens and Gina Louise.
Thursday, December 9, 2010
How To Burlesque
In our column How To Burlesque, Miss Frankie Tease, left, brings you tips and advice on a mishmash of burly topics. Today, she dishes on how to get booked.
You might have a great act, but what if no one sees? Here are a few ways to get booked, and booked again as a performer.
1. Be easy to reach once you're contacted. It's not a deal until it's a done deal. It's cool to be professional and answer show planning questions. This means no drama the night of the show. Changes happen and you'll want as much notice from the producer, so be reachable once you've made the commitment.
2. Have requested bio and photo information accessible on your website, or ready to send to the booker or producer. If they don't have the materials to promote you they may go searching and use a photo you have posted online and aren't fond of. Be sure to take control of your destiny by providing this material very quickly after you are booked, so as not to hold up the promotion team who's marketing your performance.
3. Let them know your staging or dressing room requests or requirements without being a diva.
4. Be prepared for anything - bring a back-up costume in case you have a wardrobe malfunction. You just never know what might happen en route, so just be as prepared as possible for with a contingency plan.
5. Follow up after the show. If you have been mailed a check, email or call to let them know you received it. Let them know you'd like to be a part of the show in the future, or are available for other bookings.
You might have a great act, but what if no one sees? Here are a few ways to get booked, and booked again as a performer.
1. Be easy to reach once you're contacted. It's not a deal until it's a done deal. It's cool to be professional and answer show planning questions. This means no drama the night of the show. Changes happen and you'll want as much notice from the producer, so be reachable once you've made the commitment.
2. Have requested bio and photo information accessible on your website, or ready to send to the booker or producer. If they don't have the materials to promote you they may go searching and use a photo you have posted online and aren't fond of. Be sure to take control of your destiny by providing this material very quickly after you are booked, so as not to hold up the promotion team who's marketing your performance.
3. Let them know your staging or dressing room requests or requirements without being a diva.
4. Be prepared for anything - bring a back-up costume in case you have a wardrobe malfunction. You just never know what might happen en route, so just be as prepared as possible for with a contingency plan.
5. Follow up after the show. If you have been mailed a check, email or call to let them know you received it. Let them know you'd like to be a part of the show in the future, or are available for other bookings.
Wednesday, December 8, 2010
Tuesday, December 7, 2010
Revealing Images: Gigi and Pop
In Revealing Images, photographer Don Spiro dishes up sweet photographic treats and the stories behind them. Today, Don aims his lens at New York City based band Gigi and Pop
Gigi and Pop are a band based in New York City that is popular in the burlesque scene, it’s individual members have been performing burlesque for years and as a combo have taken home the trophy for the “Best Variety Act” category at the 2009 Burlesque Hall of Fame pageant. Taro, Anita Cookie and Ken Ball truly define variety, they can perform in any scene in any category.
When they asked me to do a photo shoot with them I knew it would be just as varied. Dark and moody or light and comic? Straightforward representation or fantastic and whimsical? The answer to everything is yes.
Taking a cue from album cover art, several possible looks were discussed. The idea was to shoot plates for compositing into different images. Taro and crew had definite ideas as to the style of the final design of each image, but each would be unique and portray the group in different fashions. Shooting plates is fairly easy, I do it all the time, but usually with a specific final composition pre-visualized and all I would need to do would be to match something already designed. This would be a different challenge, mainly for Taro, who would have to combine the elements into a new whole.
The first set up was to shoot them naked with their instruments and the trophy against a pure white background. Their own trophy was being engraved so they borrowed Julie Atlas Muz’s from 2006. I positioned the lights they way I do for pin up or for shooting Lucha Va Voom, very flattering and good for group shots with little shading and plenty of fill. I shot one test shot to check the exposure. After adjusting my lens I took the first shot and that shot was the lucky one, it ended up the one being used. A simple set up, Taro only had to digitally remove a piece of tape that was holding up the seamless backdrop and change the date on the trophy.
~Don Spiro
Gigi and Pop are a band based in New York City that is popular in the burlesque scene, it’s individual members have been performing burlesque for years and as a combo have taken home the trophy for the “Best Variety Act” category at the 2009 Burlesque Hall of Fame pageant. Taro, Anita Cookie and Ken Ball truly define variety, they can perform in any scene in any category.
When they asked me to do a photo shoot with them I knew it would be just as varied. Dark and moody or light and comic? Straightforward representation or fantastic and whimsical? The answer to everything is yes.
Taking a cue from album cover art, several possible looks were discussed. The idea was to shoot plates for compositing into different images. Taro and crew had definite ideas as to the style of the final design of each image, but each would be unique and portray the group in different fashions. Shooting plates is fairly easy, I do it all the time, but usually with a specific final composition pre-visualized and all I would need to do would be to match something already designed. This would be a different challenge, mainly for Taro, who would have to combine the elements into a new whole.
The first set up was to shoot them naked with their instruments and the trophy against a pure white background. Their own trophy was being engraved so they borrowed Julie Atlas Muz’s from 2006. I positioned the lights they way I do for pin up or for shooting Lucha Va Voom, very flattering and good for group shots with little shading and plenty of fill. I shot one test shot to check the exposure. After adjusting my lens I took the first shot and that shot was the lucky one, it ended up the one being used. A simple set up, Taro only had to digitally remove a piece of tape that was holding up the seamless backdrop and change the date on the trophy.
~Don Spiro
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