Post: 《新野蛮滑稽戏》 Nouvelle Burlesque Brutal




Nouvelle Burlesque Brutal

2011 | 43min | 卡特琳娜·达什内 Katrina Daschner

实验短片 Experimental Film

编剧 Screenwriter

卡特琳娜·达什内 Katrina Taschner

主演 Cast

卡特琳娜·达什内Katrina Daschner

制片人 Producers

卡特琳娜·达什内 Katrina Daschner, Catrin Seefranz, Katharina Aigner, Karin Haas, Cordula Thym

摄影 Cinematographer

Hannes Böck

对白语言 Language

无 none

字幕 Subtitles

中英 Chinese, English

制作机构 Production Group

Lady Chutney Production


故事梗概 Synopsis



A coquettish stripper flirts with an upper-class lady. A dressage rider jumps into a quasi-pornographic ménage à trois with two women playing a horse. A disc adorned with a spiral and a throwing knife rotatesin a sea of confetti. And a silent, laughing, cheering and kissing lesbian-queer choir surround the trilogy. In the context of post-porn strategies and the neo-burlesque movement, captured (also) by queers and feminists for whom the plurality and performativity of body images and forms of desire are central, the Vienna-based artist Katrina Daschner crosses the heterosexist gaze with an obvious, classical vocabulary of temptation. When the burlesque performer in the first part “Hafenperlen (Harbor Pearls)” smilingly calls up the traditional gestures of an erotic tease, thereby referencing an Egyptian film of the 1940s in which the singer and dancer Naima Akef embodies both the belly dancer as well as the captain flirting with her, her smile is no longer that of an available object. On the contrary, the knowing grin, directly addressed to the camera, together with the complicit winking between the stripper and the observing lady (both played by Daschner), creates a distance from the glamorous and stylish, almost sterile staging of the events, at the same time commenting on the fantasm, as well as the liberating laughter of the lesbian chorus at the end. Also in the second and third parts, “Aria de Mustang” and “Flaming Flamingos,” which allude to recurring motifs in film and theater history with calculated dramatical effects and queer musical undertones by the Kumbia Queers, Bonanza Jellybean and Edita Gruberová, the sensuous self-determination stands at the core, which through the plurality of the chorus, appearing at times androgynous, at times opulent in red drag, comments with a wink of the eye, before finally embedding in a powerful collective.


导演简历 Bio-Filmography of Director



Katrina Daschner was born in Hamburg and lives in Vienna. She is a visual artist and filmmaker. For fifteen years, she has shown her work internationally, mostly in exhibition spaces and at (mostly queer) film festivals. Since 2009 she has hosted the queer Club Burlesque Brutal at the Brut Theatre in Vienna. She ran a performance art space called Salon Lady Chutney from 2000 to 2002 and taught visual art at the Academy of Fine Arts in Vienna from 2005 to 2010. Videos/Films (selection): Parole Rosette (2012), Nouvelle Burlesque Brutal (Trilogy, 2011), Flaming Flamingos (2011), Aria de Mustang (2009), Hafenperlen(2008), Dolores (2005), Chutney Mary (2000), Lady Chutney Does México (1999), Mutter mit Marmelade (1998), Gefüllte Gans (1998)

导演阐述 Director’s Statement


My artistic projects often deal with (gender specific) power structures and the transfer of stage language into the exhibition space and film context. I try to create a visual language which has a slick and elegant look at first sight, as I have recognized that (hetero) people like to see queer topics in more trashy aesthetics, as this might seem more subcultural and not so frightening to them—in other words, that it should stay in that little corner. To change this situation I try to make pictures which take place in dominant film language, as I have had enough of staying in that small little drawer.