![\"Screen](\"https:\/\/courses.lsa.umich.edu\/smilingmadamebeudet\/wp-content\/uploads\/sites\/29\/2015\/12\/Screen-Shot-2015-12-07-at-9.56.59-PM.png\")
<\/a><\/p>\nSpenser Robnett<\/p>\n
In Margaret E Gray’s article\u00a0Cross-undressing in Colette: Performance, gender and music-hall labour practice,<\/em> she analyzes Colette’s 1913 memoir L\u2019Envers du music-hall. \u00a0<\/em>Within these documents, Colette recalls the paradoxical environment of the glamorous yet\u00a0complex industry\u00a0of female stage performers in early 1900s France, whose behind-the-scenes labor hardships were\u00a0“colonized and appropriated by the stage”; this statement reveals how the stage actresses private lives bared the unfortunate costs of an industry, such as being sexualized, underpaid, and overworked at the expense of of the tyrannical employers. \u00a0Exploiting the female performers’ inequality is the Gray’s purpose, as she explains\u00a0the imperialism of the performance industry and the victimized martyrs who suffered such atrocities\u00a0as unreported rape and “slave” labor practices. \u00a0The significance of bringing to light Colette’s memoir is to reveal that early Twentieth Century France was a largely sexist regime which\u00a0exploited some of the most important female performers\u00a0for the sake of performance and entertainment. \u00a0When watching Smiling Madame Beudet,<\/em> one should not forget the suffering that women performers endured and he or she should understand Germaine Dulac’s purpose for choosing\u00a0an oppressed female lead actress. \u00a0The female performers’ occupational hazards outweighed the glamour of fame and “fortune” in early 1900s France and should be remembered as a disgusting point in time and therefore studied so not to repeat the same practices. Spenser Robnett In Margaret E Gray’s article\u00a0Cross-undressing in Colette: Performance, gender and music-hall labour practice, she analyzes Colette’s 1913 memoir L\u2019Envers du music-hall. \u00a0Within these documents, Colette recalls the paradoxical environment of the glamorous yet\u00a0complex industry\u00a0of female stage performers in early 1900s France, whose behind-the-scenes labor hardships were\u00a0“colonized and appropriated by the stage”; … <\/p>\n
\nGray, M. E. “Cross-undressing in Colette: Performance, Gender and Music-hall Labour Practice.” French Cultural Studies, 2012, 202-14.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"