She uses spectacular entertainment forms, including fairground devices and stage illusion, and draws on themes of contemporary ritual, to investigate social issues from an ecofeminist perspective.

Time Out declared that Carnesky's 'unique niche of interactive end-of-the-pier esoterica has fused ghost trains, anatomical models and tattoo culture with religion, feminism and class consciousness in ways both playful and rewardingly demanding.

[4] Her 1990s solo performances included the commission for Lady Muck and Her Burlesque Revue at the Now Festival Nottingham (1996), the Nine Breasted Woman at the Duckie Prom Night at the ICA (1997) and Mademoiselle Lefort in the St Valentine's Day Pleasure Parade under the Vauxhall Railway Arches (1998).

This was a surreal version of the Bluebeard story, featuring sailors, tattooed women, snakes, peacocks, and a woman transformed into a ship's mast, weeping 'tears of blood into the ocean'.

She appeared in HBO's television series Real Sex and the 1998 TV documentary Showgirl Stories From Vaudeville to Vegas, directed by Agnieszka Piotrowska and narrated by Anjelica Huston.

'[7] Jewess Tattooess included storytelling, fairground illusions, films (by Alison Murray) and a soundtrack by David Knight, Katherine Gifford and James Johnston.

Renamed C'est Duckie, it subsequently toured to Manchester, Birmingham, Edinburgh, Sydney (Opera House), Berlin, Tokyo, Kyoto and New York.

In 2003, Carnesky created The Girl from Nowhere, a collaboration with the magician Paul Kieve and Hilary Westlake, director of the experimental theatre group Lumiere and Son.

Using filmed testimony and magic illusions, the piece retold Jewish and eastern European folktales and stories of migration, exploring similarities between migrant journeys from East to West.

"[16] The train toured the UK for five years, and had residencies at the Trumans Brewery in Brick Lane, Coventry City Centre, Glastonbury Festival and Zomer Van Antwerpen in Belgium.

With dramaturgy from Lois Weaver and Flick Ferdinando, the show included stage magic from Paul Kieve, and costumes and props by Sarah Munro and Mark Copeland of the Insect Circus.

In her Guardian review, Lyn Gardner described the piece as 'an intriguing look at war and violence, and the illusions to which we all fall prey....(It) combines magic, commentary and audience participation.

Graduates of the school include MisSa Blue, Laura Gwen Miles, Tallulah Haddon, Tom Cassani, Oozing Gloop, Amethyst Phoenixx and Oberon White.

She played the role of a morbid 'Madame Tussauds'-esque showwoman guiding audiences through her 'bizarre exhibition of curious nameless bodies that merge flesh with beautifully constructed wounds and organs made of wax, silk and embroidered felt.

Among the featured artistes was Marawa The Amazing, who gracefully climbed a ladder of sabres barefoot, recreating a turn made popular by the female French magician and crocodile-charmer, Koringa, in the 1930s.

[24] The creative team comprised Anthony Bennett (wax work sculptor), Rasp Thorne (music), Helen Plewis (performer and choreographer), Marty Langthorne (lighting designer) and Jon Marshall (magic illusions).

[25] Carnesky's Tarot Drome, first staged at the Old Vic Tunnels in 2012, was a large-scale promenade show using interactive installations, skate routines, Mexican wrestling and a live rock band.

The creative producers were Lara Clifton and Dicky Eaton, the costumes were by Claire Ashley, and a large fairground facade was painted by Martha Copeland.

The Time Out reviewer described 'eye-contact encounters with the likes of the Empress (Suri Sumatra), all enveloping arms and seductive fruit; the Chariot (Rhyannon Styles), who combines transgender identity and sleb-culture narcissism; and Death (Nina Felia), a transformative figure who emerges from striking immobility into unbounded flexibility.

The lecture was described by Maddy Costa as 'a playful survey of mythology and religion and art that has, over the centuries, attempted to capture and control the menstruating woman, harness her power for patriarchy's advancement.

The work in progress led to Showwomen in 2022, written and devised by Carnesky with Veronica Thompson AKA Fancy Chance, hair hanger and comedienne, Livia Kojo Alour, sword swallower and spoken word artist, and Lucifire, a fire performer.

There was a specially commissioned soundtrack by James Johnston (Gallon Drunk), Kath Warg (Snowpony, Stereolab) and Dave Knight (Danielle Dax, Unicazurn), fusing archival sound material with contemporary compositions.

She was embodied by performers like Koringa from the Bertram Mills Circus who had a concrete block broken over her stomach and laid on a bed of nails as well as work for the French resistance.

Clown and chief researcher Marisa Carnesky openly admits she'll leave the dangerous stuff to others, but ties the show together with moments of levity and reflection.

A GScene review described the show: "The staging and decorations are vintage fairground with a modern aesthetic totally on point and hand painted by local queer muralist Dave Pop, the ethereal atmospheric electronic soundscape by The Fast Set waves its teasing audio over the spaces and original costumes by House of Flying Stitches offers up a fantastic array of superb outfits....This all moving, attention grabbing, spectacular physically transforms a forgotten side street into a large-scale immersive extravaganza, and leaves you grinning, gaping and seriously impressed with the extraordinary range of skills and talents on display.