NOTES 10 11 12 13 14 15 16 17 18 19 Annette Kuhn, The Power of the Image: Essays on Representation and Sexuality, London, Routledge & Kegan Paul, 1985, p This literature is fully discussed in Tracy C.Davis, ‘The Actress in Victorian Pornography’, Theatre Journal, October 1989, vol 41, pp 294–315 Memoirs of the Life of Madame Vestris of the Theatres Royal Drury lane and Covent Garden Illustrated with Numerous Curious Anecdotes, privately printed, 1830 [c 1840]; Confessions of Madame Vestris; in a series of letters to Handsome Jack, n.p., New Villon Society, 1891 The sartorial equipment of each female speciality is listed in Leman Thomas Rede, The Road to the Stage, London, J.Onwhyn, 1836, pp 25–8 Helene R.Roberts, ‘The Exquisite Slave: The Role of Clothes in the Making of Victorian Woman’, Signs, Spring 1977, vol 2, pp 554–69 Cited in Ivor Guest, Fanny Elssler, London, Adam and Charles Black, 1970, p 146 This was strictly observed in late Victorian England, though widely disbelieved When Charles Reed and Edith Mary Reed publicly accused Madge Ellis of appearing bare legged, Ellis threatened to sue She settled out of court for £300 and a signed apology ‘London Purity Crusade’, Daily Mail, 27 January 1897 The bare-legged dances of Lola Montez belong principally to the American stage of the mid-century C.Wilhelm, ‘Art in the Ballet’, Magazine of Art, 1895, p 14 [Alma Ellerslie?], The Diary of an Actress or Realities of Stage Life, ed H.C.Shuttleworth, London, Griffith, Farran, Okeden & Welsh, 1885, p 155 The Days’ Doings, 1870 ‘Theatrical Types No XI.—The Corps de Ballet,’ Illustrated Times, 16 July 1864, p 43 Public Record Office (London), letter from A.J.Crowder to the Lord Chamberlain, 30 June 1882, LC1/399.143 The consistency of line from the 1880s to 1900s is demonstrated in the comprehensive collection of designs for pantomime, ballet, and extravaganza by Wilhelm in the Victoria and Albert Museum, Department of Prints and Drawings Rede, op cit., p 28 Public Record Office (London), letters and February 1869, LC1/222 Max Beerbohm, ‘Max, Mr Archer, and Others’, Saturday Review, 15 October 1898, pp 498–9 Sources of comedy in male theatrical cross-dressing are outlined in Corinne Holt Sawyer, ‘Men in Skirts and Women in Trousers, from Achilles to Victoria Grant: One Explanation of a Comedic Paradox’, Journal of Popular Culture, Fall 1987, vol 21, pp 1–16 Critical traditions concerned with the negative connotations of women as spectacles are discussed in Mary Russo, ‘Female Grotesques: Carnival and Theory,’ Feminist Studies/Critical Studies, ed Teresa de Lauretis, Bloomington, Indiana University Press, 1986, pp 213–29 According to Natalie Zemon Davis, cross-dressing reveals the misogyny harboured towards strong women in pretended power reversals Alternately, Jacques Lacan theorizes women’s sexuality as the attempt to hide what is not there (a phallus), and male virility as paradoxically feminine; the consequences for men’s cross- 175