![]() ![]() Applied to an investigation of this scene, the methods of digital venue construction and virtual performance praxis frame the Stardust’s orientalism as an international assemblage of industrial materiel. This chapter explores the historical significance of “Madame Butterfly” at the Stardust by interrogating documentation (written reviews, photographs, 16 mm film) within a three-dimensional virtual-reality model of the venue. Ca C’est L’Amour attracted an estimated audience of 800,000, drawn from the mobile, middle-class of predominantly white America, at a time when the spectacle of nuclear tests was attracting tourists to Las Vegas. While there is little that (now) seems Japanese about the performance, the overarching spatial-narrative locates Las Vegas at the centre, mid-way between Paris (as origin) and Tokyo (as destination), on an East-West map of world entertainment. Ca C’est L’Amour, the 1959 production of the Lido de Paris revue at the Stardust Hotel and Casino in Las Vegas, included an interpretation of Madame Butterfly, performed on ice, as part of a three-part segment depicting scenes from traditional and modern Japan.
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