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Author: Robert M. Lewis
Publisher:
ISBN:
Category : Performing arts
Languages : en
Pages : 399
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Book Description
Author: Robert M. Lewis
Publisher:
ISBN:
Category : Performing arts
Languages : en
Pages : 399
Get Book
Book Description
Author: Robert M. Lewis
Publisher: JHU Press
ISBN: 080189994X
Category : History
Languages : en
Pages : 412
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Book Description
Before phonographs and moving pictures, live performances dominated American popular entertainment. Carnivals, circuses, dioramas, magicians, mechanical marvels, musicians, and theatrical troupes—all visited rural fairgrounds, small-town opera houses, and big-city palaces around the country, giving millions of people an escape from their everyday lives for a dime or a quarter. In From Traveling Show to Vaudeville, Robert M. Lewis has assembled a remarkable collection of nineteenth- and early twentieth-century primary sources that document America's age of theatrical spectacle. In eight parts, Lewis explores, in turn, dime museums, minstrelsy, circuses, melodramas, burlesque shows, Wild West shows, amusement parks, and vaudeville. Included in this compendium are biographies, programs, ephemera produced by theatrical entrepreneurs to lure audiences to their shows, photographs, scripts, and song lyrics as well as newspaper accounts, reviews, and interviews with such figures as P. T. Barnum and Buffalo Bill Cody. Lewis also gives us reminiscences about and reactions to various shows by members of audiences, including such prominent writers as Mark Twain, William Dean Howells, Nathaniel Hawthorne, Carl Sandburg, Walt Whitman, Louisa May Alcott, Charles Dickens, O. Henry, and Maxim Gorky. Each section also includes a concise introduction that places the genre of spectacle into its historical and cultural context and suggests major interpretive themes. The book closes with a bibliographic essay that identifies relevant scholarly works. Many of the pieces collected here have not been published since their first appearance, making From Traveling Show to Vaudeville an indispensable resource for historians of popular culture, theater, and nineteenth-century American society.
Author: Trav S.D.
Publisher: Macmillan
ISBN: 0865479585
Category : Performing Arts
Languages : en
Pages : 368
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Book Description
From 1881 to 1932, vaudeville was at the heart of show business in the UnitedStates. This volume explores the many ways in which vaudeville's story is thestory of show business in America.
Author: Maureen McCabe
Publisher: Moon Over Vaudeville LLC
ISBN: 0983357501
Category : Biography & Autobiography
Languages : en
Pages : 51
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Book Description
Softcover - Biography/Memoir. A charming morsel of a book about one man's real life Vaudeville story tap dancing back and forth across the country in the 1930s. More than 100 photos and newspaper clippings to enjoy.
Author: Henry Wood
Publisher:
ISBN:
Category : Actors
Languages : en
Pages : 0
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Book Description
Chronicles the life of vaudeville actor Henry Wood, and details his early life and experiences while performing in traveling medicine and tent shows in the early twentieth century. Includes black-and-white photographs.
Author: David Monod
Publisher: UNC Press Books
ISBN: 1469660563
Category : History
Languages : en
Pages : 286
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Book Description
Today, vaudeville is imagined as a parade of slapstick comedians, blackface shouters, coyly revealed knees, and second-rate acrobats. But vaudeville was also America's most popular commercial amusement from the mid-1890s to the First World War; at its peak, 5 million Americans attended vaudeville shows every week. Telling the story of this pioneering art form's rise and decline, David Monod looks through the apparent carnival of vaudeville performance and asks: what made the theater so popular and transformative? Although he acknowledges its quirkiness, Monod makes the case that vaudeville became so popular because it offered audiences a guide to a modern urban lifestyle. Vaudeville acts celebrated sharp city styles and denigrated old-fashioned habits, showcased new music and dance moves, and promulgated a deeply influential vernacular modernism. The variety show's off-the-rack trendiness perfectly suited an era when goods and services were becoming more affordable and the mass market promised to democratize style, offering a clear vision of how the quintessential twentieth-century citizen should look, talk, move, feel, and act.
Author: Lynn Abbott
Publisher: Univ. Press of Mississippi
ISBN: 1496810058
Category : Music
Languages : en
Pages : 433
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Book Description
With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America's favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler "String Beans" May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the "blues master piano player of the world." His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female "coon shouters" acquired a more dignified aura in the emergent persona of the "blues queen." Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before--a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.
Author: Geoffrey Hilsabeck
Publisher:
ISBN: 9781952271069
Category :
Languages : en
Pages : 104
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Book Description
A dreamlike, evocative reckoning with a lost epoch in popular culture--and with old, weird America. At the heart of American Vaudeville is one strange, unsettling fact: for nearly fifty years, from the late nineteenth century to the 1930s, vaudeville was everywhere--then, suddenly, it was nowhere. This book tells the story of what was once the most popular form of entertainment in the country using lists, creation myths, thumbnail biographies, dreams, and obituaries. A lyric history--part social history, part song--American Vaudeville sits at the nexus between poetry, experimental nonfiction, and, because it includes historic images, art books. Geoffrey Hilsabeck's book grows out of extensive archival research. Rather than arranging that research--the remains of vaudeville--into a realistic picture or tidy narrative, Hilsabeck dreams vaudeville back into existence, drawing on photographs, letters, joke books, reviews, newspaper stories, anecdotes, and other material gathered from numerous archives, as well as from memoirs by vaudeville performers like Buster Keaton, Eva Tanguay, and Eddie Cantor. Some of this research is presented as-is, a letter from a now forgotten vaudeville performer to her booking agent, for example; some is worked up into brief scenes and biographies; and some is put to even more imaginative uses, finding new life in dialogues and prose poems. American Vaudeville pulls the past into the present and finds in the beauty and carnivalesque grotesqueness of vaudeville a fitting image of American life today.
Author: Jessica Zeller
Publisher: Oxford University Press
ISBN: 0190296690
Category : Music
Languages : en
Pages : 217
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Book Description
In Shapes of American Ballet: Teachers and Training before Balanchine, Jessica Zeller introduces the first few decades of the twentieth century as an often overlooked, yet critical period for ballet's growth in America. While George Balanchine is often considered the sole creator of American ballet, numerous European and Russian migr s had been working for decades to build a national ballet with an American identity. These pedagogues and others like them played critical yet largely unacknowledged roles in American ballet's development. Despite their prestigious ballet pedigrees, the dance field's exhaustive focus on Balanchine has led to the neglect of their work during the first few decades of the century, and in this light, this book offers a new perspective on American ballet during the period immediately prior to Balanchine's arrival. Zeller uses hundreds of rare archival documents to illuminate the pedagogies of several significant European and Russian teachers who worked in New York City. Bringing these contributions into the broader history of American ballet recasts American ballet's identity as diverse-comprised of numerous Euro-Russian and American elements, as opposed to the work of one individual. This new account of early twentieth century American ballet is situated against a bustling New York City backdrop, where mass immigration through Ellis Island brought the ballet from European and Russian opera houses into contact with a variety of American forms and sensibilities. Ballet from celebrated Euro-Russian lineages was performed in vaudeville and blended with American popular dance styles, and it developed new characteristics as it responded to the American economy. Shapes of American Ballet delves into ballet's struggle to define itself during this rich early twentieth century period, and it sheds new light on ballet's development of an American identity before Balanchine.
Author: Carole Salmon
Publisher: Vernon Press
ISBN: 1648895395
Category : Social Science
Languages : en
Pages : 215
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Book Description
Across centuries, France -and especially its capital city, Paris- established itself as a major source of influence across the Americas through colonization, diplomacy and political influence, but also through intellectualism and cultural productions of all sorts, either by imposition, exportation or as a trend of fashion via a bilateral transatlantic movement of people and ideas. In itself, the influence of Paris, the “capital of the world,” as Patrice Higonnet (2002) analyzes it, is similar to a phantasmagoria, which results in a transatlantic fascination for the city of lights and all the tangible or intangible elements that function as its embodiment. As Stuart Hall explains, understanding cultures and languages and their representations through various manifestations presupposes that we can identify, understand and interpret the signs that constitute their core identity. (Hall 2013). In an interdisciplinary approach, this multi-authored, edited volume examines the long-established relationships between Paris and cities across the American continent, in the past as well as in the present time. In order to explore all aspects of Paris’s influence(s) in the Americas, this volume is organized around two main axes of analysis: first, in a geographical progression from North to South, the reader is invited to reflect upon cultural productions that demonstrate the many influences of Paris in the Americas through theater, literature, philosophy, fashion and cinema (chapters 1 to 6). In the following chapters (7 to 11), the volume focuses particularly on a variety of urban connections that take the reader from South to North this time, analyzing tangible architectural and urban design influences of Paris in major cities such as Rio de Janeiro, Buenos Aires, Mexico City, New York, or Washington D.C. In today’s global world, this multifaceted study of Paris’ visible and invisible influences in the Americas clearly reveals the transnational intersections of spaces, languages, people and cultures.
