There is often a misconception that ‘camp’ is something that is so bad its good; a sense of too much, too far, or over the top, so eccentric it is funny and fabulous. I do not disagree with this reading of the term although, as Susan Sontag argues, it is definitely not the full picture. She dedicates the notes to Oscar Wilde referring them to a quote of his.
“One should either be a work of art, or wear a work of art.”
Many of the notes she helpfully numbers pertain to the aestheticism towards what is to be considered camp. Camp is a visual aesthetic, an extravagance visually and something that exists in art and media whilst also reaching into the world around us. As seen in note 47 Sontag discusses Wilds’ “the equivalence of all objects,” (289) the gaze upon which we see things creates the meanings and beauty in it. He acknowledges the beauty in a doorknob something that is functional, but functionality does not have to give way to beauty. “To start very generally: Camp is a certain mode of aestheticism. It is one way of seeing the world as an aesthetic phenomenon.” (277) This is the first note Sontag makes and creates what essentially becomes the thesis the following notes prove.
In note 9 she explores the gender subversions and androgyny within camp and with her dedication to Wilde (and his image) I have decided even though it is technically a theatrical adaptation of the novel to use Kip Williams adaptation of the Picture of Dorian Grey as my example. The production may be a play for a live audience but heavily relies on both pre-recorded and live filming media. This is so one actress, Sarah Snook, may play all 26 roles. This eccentricity is just the base of the level of camp this production achieves. A novel that explores the need for eternal beauty, the need to be seen in an overly image-based society, displayed through both the image of the titular character and those looking upon him in a play with a 1-woman cast is a level of camp Wilde could not have possibly comprehended. As seen in the clip the meta-ness of looking and perceiving one’s own self through the lens of others is most definitely not the only thing that makes this adaptation of the novel camp, the aesthetics are next level camp. Sarah Snook becomes and unbecomes characters on stage, transforming through different forms of camp while essentially performing the whole show in drag. As Sontag ends the notes “The ultimate Camp statement: it’s good because it’s awful … Of course, one can’t always say that. Only under certain conditions, those which I’ve tried to sketch in these notes.” (292) This play is not so bad its good. It’s just good because its camp.
I love this application of the theory, as in many ways Oscar Wilde remains the king of camp, especially the aestheticism aspect. In the adaptation, everything is camp, from sets to costumes to gender expression; not because it’s done badly, but because it’s so over-the-top and it looks so pretty.
I agree with your analysis of this. I think this is also a good example of naive camp, as it seems to take itself seriously, rather than an example of camping.
The Sarah Snook one woman Dorian Gray is a perfect display of camp. She is one of the best actresses of our time, but this is an impossible feat. The femininity of her character in Succession seems to be the antithesis of Camp, this transition is impressive.