Exaggerated, ostentatious, overemphasize, affected, theatrical, artificial… That’s Camp style!
And Camp is esoteric — something of a private code, a badge of identity even, among small urban cliques.
Camp sees everything in quotation marks. It’s not a lamp, but a “lamp”; not a woman, but a “woman.” To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role. It is the farthest extension, in sensibility, of the metaphor of life as theater.
One must distinguish between naïve and deliberate Camp. Pure Camp is always naïve. Camp which knows itself to be Camp (“camping”) is usually less satisfying.
The whole point of Camp is to dethrone the serious. Camp is playful, anti-serious. More precisely, Camp involves a new, more complex relation to “the serious.” One can be serious about the frivolous, frivolous about the serious.
Camp proposes a comic vision of the world. But not a bitter or polemical comedy. If tragedy is an experience of hyperinvolvement, comedy is an experience of underinvolvement, of detachment.
The ultimate Camp statement: it’s good because it’s awful . . .