Editing Camp (style) (section)

=== Theatre ===
[[Andrew Holleran]]'s 1988 book of essays, ''[[Ground Zero (book)|Ground Zero]]'', includes an analysis of "smoldering anarchist of kitsch" [[Charles Ludlam]]—a theatre artist who produced what [[Garth Greenwell]] describes as "extravagant drag epics" with Ridiculous Theatrical Company, until his death of AIDS-related pneumonia in 1987. Greenwell writes: "Holleran's essay is the most concise and profound discussion of camp aesthetics I know."<ref>{{Cite news |last=Greenwell |first=Garth |date=2020-04-15 |title=“Chronicle of a Plague, Revisited” and the Inner Life of Catastrophe |url=https://www.newyorker.com/books/second-read/chronicle-of-a-plague-revisited-and-the-inner-life-of-catastrophe |access-date=2025-05-09 |work=The New Yorker |language=en-US |issn=0028-792X}}</ref>

The Australian theatre and opera director [[Barrie Kosky]] is renowned for his use of camp in interpreting the works of the [[Western canon]], including [[William Shakespeare|Shakespeare]], [[Richard Wagner|Wagner]], [[Molière]], [[Seneca the Younger|Seneca]] and [[Franz Kafka|Kafka]]. His 2006 eight-hour production for the Sydney Theatre Company ''The Lost Echo'' was based on [[Ovid]]'s ''Metamorphoses'' and [[Euripides]]'s ''[[The Bacchae]]''. In the first act ("The Song of Phaeton"), for instance, the goddess [[Juno (mythology)|Juno]] takes the form of a highly stylized [[Marlene Dietrich]], and the musical arrangements feature [[Noël Coward]] and [[Cole Porter]]. Kosky's use of camp is also effectively employed to satirize the pretensions, manners, and cultural vacuity of Australia's suburban [[middle class]], which is suggestive of the style of [[Dame Edna Everage]]. For example, in ''The Lost Echo'', Kosky employs a chorus of [[Secondary school|high school]] students: one girl in the chorus takes leave from the goddess Diana, and begins to rehearse a dance routine, muttering to herself in a broad Australian accent, "Mum says I have to practice if I want to be on ''[[Australian Idol]]''."<ref>{{Cite journal |last=Smale |first=Alison |date=2015-04-22 |title=Australian director brings Berlin's complexity to the opera stage; Novel style wins acclaim and younger audiences for the Komische Oper. |url=https://go.gale.com/ps/i.do?p=AONE&sw=w&issn=22699740&v=2.1&it=r&id=GALE%7CA410540597&sid=googleScholar&linkaccess=abs |journal=International New York Times |language=English |pages=NA |access-date=2024-08-09 |via=Gale Academic OneFile}}</ref>

In the UK, the [[music hall]] tradition of [[pantomime]], which often uses drag and other features of ''camp'', remains a popular form of entertainment for families and young children. Most towns and cities in the UK stage at least one pantomime between November and February, drawing in an estimated £146 million in 2014.<ref name=":18">{{Cite book |last=Sladen |first=Simon |title=Popular performance |date=2017 |publisher=Bloomsbury Methuen Drama |isbn=978-1-4742-4734-4 |editor-last=Ainsworth |editor-first=Adam |location=London Oxford New York New Delhi Sydney |pages=179 |chapter='Hiya Fans!' Celebrity Performance and Reception in Modern British Pantomime |editor-last2=Double |editor-first2=Oliver |editor-last3=Peacock |editor-first3=Louise}}</ref>