Neoburlesque is a daring performance genre that lies between burlesque and striptease, subverting societal expectations regarding the power of objectification. The central focus of this thesis is, above all, an understanding of the female body and its sexuality within the context of neoburlesque. Firstly, I situate femininity within the broader social framework of Western feminist sociological theory, which challenges the naturalization concepts that are, in fact, socially constructed. A deeply ingrained understanding of masculinity and heterosexuality as natural and central precludes any alternative interpretation. Neoburlesque emerges as a potential form of critique, even though at first glance it appears to merely reproduce the objectification of the female body, as scantily clad dancers on stage seduce the audience. A superficial interpretation of the neoburlesque stems as patriarchal and heteronormative would do it injustice, since the history of burlesque stems from sharp social criticism, a fact that should not be overlooked even in its contemporary versions. Objectification, with its kitschy feminine makeup, gestures and near-absence of costumes, is evident but not unambiguous; therefore, I look beyond the heteronormative male gaze and explain that neoburlesque can also be a space for subversive empowerment. Neoburlesque, in fact, contains a strong reciprocal function that holds emancipatory potential for both the dancers and the audience.
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