Academic literature on the topic 'Burlesque (Theater)'
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Journal articles on the topic "Burlesque (Theater)"
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DENISOFF, DENNIS. "Theater, Burlesque, and Performance in the Nineteenth Century." Nineteenth Century Studies 19, no. 1 (January 1, 2005): 159–63. http://dx.doi.org/10.2307/45197837.
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DENISOFF, DENNIS. "Theater, Burlesque, and Performance in the Nineteenth Century." Nineteenth Century Studies 19, no. 1 (January 1, 2005): 159–63. http://dx.doi.org/10.2307/ninecentstud.19.2005.0159.
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Ibarra, Xandra. "Aguas Calientes." TDR/The Drama Review 60, no. 1 (March 2016): 2–3. http://dx.doi.org/10.1162/dram_a_00519.
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Xandra Ibarra is an Oakland-based performance artist from the El Paso/Juarez border who performs under the alias of La Chica Boom. She uses hyperbolized modes of racialization and sexualization to test the boundaries between her own body and coloniality, compulsory whiteness, and Mexicanidad. Her practice integrates performance, sex acts, and burlesque with video, photography, and objects. Her work has been featured at El Museo de Arte Contemporañeo (Bogotá, Colombia), Popa Gallery (Buenos Aires, Argentina), Joe’s Pub (NYC), PPOW Gallery (NYC), Yerba Buena Center for the Arts (San Francisco), and The Burlesque Hall of Fame (Las Vegas), to name a few. She was awarded the Yerba Buena Center for the Arts Award, ReGen Artist Fund, Theater Bay Area Grant, and the Franklin Furnace Performance and Variable Media Award.
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Adelsheim, Ryan, Rye Gentleman, and Michelle Hayford. "Deviant Devising." Theater 54, no. 2 (May 1, 2024): 51–69. http://dx.doi.org/10.1215/01610775-11127594.
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Devised theater genealogies too often take shape around a set of primarily white, Western “ensemble-based” theater companies and training schools working in modes that emerged in Europe and the United States in the 1960s and 1970s in response to contemporary political circumstances and eventually found acceptance in the high-brow, avant garde cultural milieu. This cowritten, copresented article works to trouble that narrative by taking up the forms of queer and trans cocreated performance associated with underground queer spaces that have been excluded from histories of devised theater (drag, burlesque, ballroom, cabaret, parties, etc.). Using three case studies written in three different voices—the Chicago Kings, Sean Dorsey Dance and Fresh Meat Productions, and The Fly Honey Show—we examine what an alternative genealogy of devising, one that centers queer and trans artists, might look like.
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Goethals, Jessica. "The Patronage Politics of Equestrian Ballet: Allegory, Allusion, and Satire in the Courts of Seventeenth-Century Italy and France." Renaissance Quarterly 70, no. 4 (2017): 1397–448. http://dx.doi.org/10.1086/695350.
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AbstractEquestrian ballet was a spectacular genre of musical theater popular in the Baroque court. A phenomenon with military roots, the ballet communicated both the might and grace of its organizers, who often played starring roles. This essay explores the ballet’s centrality by tracing the itinerant opera singer and writer Margherita Costa’s use of the genre as a means of securing elite patronage: from an elegant manuscript libretto presented to Grand Duke Ferdinando II de’ Medici and later revised in print for Cardinal Jules Mazarin in Paris, to occasional poetry written for the Barberini in Rome, and even burlesque caricatures.
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Hodgson, Amanda. "Beyond the Opera House: Some Victorian Ballet Burlesques." Dance Research 38, no. 1 (May 2020): 7–24. http://dx.doi.org/10.3366/drs.2020.0288.
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Histories of ballet have tended to pay little attention to Victorian theatre dance that was not performed in the opera house or the music hall. A great deal of dance was embedded in such popular theatrical genres as melodrama, extravaganza and burlesque, and is therefore best understood in the context of the wider theatrical culture of the period. This essay examines two ballet burlesques performed at the Adelphi Theatre in the 1840s: The Phantom Dancers (a version of Giselle) and Taming a Tartar (based on Le Diable à quatre). When located in relation to the generic qualities of other theatrical burlesques of the period, their particular combination of parody and serious attention to classical dance is clarified. In both plays classical dance is set against more demotic dance styles. This serves as a way of mocking the excesses of the original ballets, but also as a way of interrogating the nature and significance of the danse d’école when presented to a popular theatre audience.
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Nikolaieva, Oksana. "The mode of theatricality in the work of representatives of “Bu-Ba-Bu” group." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 204–11. http://dx.doi.org/10.28925/2311-259x.2021.4.1.
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The article deals with the phenomenon of theatricalization of the artistic picture of the world in the works of authors-representatives of the group “Bu-Ba-Bu”, (Yuriy Andrukhovych, Viktor Neborak, Oleksandr Irvanets) who carry out a large-scale renewal of Ukrainian literature by dramatizing reality. That is why the mode of theatricality best shows the basic artistic principles of the group (burlesque-balagan-buffoonery). The relevance of the study is due to the need to analyze the work of representatives of Bu-Ba-Bu in the mode of theatricality. The subject of research is the poetic features, the system of characters and the principles of characterization of the group. The purpose of this article is to identify the ideological identity of the literary work of the group “Bu-Ba-Bu” in terms of revealing the theatrical discourse, which provides the research novelty. Research methods: comparative, comparative-historical and descriptive were used. Results of the research. Yu. Andrukhovych’s great prose and O. Irvanets’ drama are considered in the context of the postmodern concept of “theater society”, which treats various forms of social and cultural life as a kind of performance, as well as in connection with the concept of camp, which is characterized by ironic reflection on mass culture and aestheticization of everyday life. Dimensions of theatricality are realized by groups primarily in the form of carnival, which is a means of overcoming postcolonial trauma and a special space of existence (active involvement of the public in theatrical action, blurring the line between “theater” and real life). Addressing the main tenets of Bakhtin’s theory of carnival revealed the peculiarities of the aesthetics of “crisis periods” in prose and drama of modern authors (opposition to official discourses, total freedom and familiarity, accentuation of the bodily “bottom”). Particular attention is paid to corporeality, which reveals carnival features (grotesqueness, fluidity, dynamism) and at the same time becomes a means of rehabilitating human freedom and vitalistic energy, correlating with postcolonial social context. It is proved that the national originality of artists’ creativity is manifested primarily in the constructive nature of the carnival, which, formally correlated with the rhizome, implicitly affirms the value vertical.
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Kalenichenko, O. N. "Fernand Crommelynck’s dramaturgy and its interpretation by Vsevolod Meyerhold and Les Kurbas." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 102–14. http://dx.doi.org/10.34064/khnum1-51.05.
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Background. The modernist dramaturgy of Fernand Crommelynck allows some literary critics to attribute it to symbolism: continuing the symbolist traditions, the author builds his works “on the development of an abstract position, personified by dramatic characters that can be perceived both as living people and as figurative designations of concepts” [8]. Other researchers believe that the F. Crommelynck’s works are expressionistic, since the Crommelynck Theater is “poetic, but full of pathos, hyperbolized images, in the characteristics of his personages exaggeration is brought to the point of absurdity” [2]. Some scientists attribute Crommelynck to surrealism because the playwright is one of the burlesque theater renovators [3]. At the same time, there is an opinion that a number of later plays by the playwright anticipate the aesthetics of the theater of the absurd [11]. Ambiguously critics evaluate the genre features of Crommelynck’s plays. They are also interpreted as “psychological dramas that combine farce and tragedy”, therefore “the characters of Crommelynck’s plays are tragic jesters, the embodiment of the “eternal” principles of love, jealousy, and stinginess. His highlight is human passions, paradoxes, absurdity” [15]. His pieces are considered and as varieties of drama filled with elements of the grotesque, and “characters often act as personifications of certain moral qualities: jealousy (“Le Cocu magnifique” – “The Magnanimous Cuckold”), stinginess (“Tripes d’or” – “The Golden Womb”), played out virtues (“Carine, ou la jeune fille folle de son âme” –“Carine, or the Mad Girl of self soul”)”, etc. [11]. Neither Vsevolod Meyerhold (production of the play “The Magnanimous Cuckold” in 1922), nor Les Kurbas (production of the play “The Golden Womb” in 1926), who were innovators in theatrical field, revolutionists of the Soviet theater, could not pass by the creativity of the contemporary modernist playwright. The purpose of this study is to identify the peculiarities of the Crommelynck’ dramas produced by stage directors and the lines of the pioneering searches of two great representatives of the theater went when staging Crommelynck’s plays. Methods. The basis of the research methodology is historical analysis. Results. Meyerhold, as shown by his notes and the memoirs of his contemporaries, moved in the 1920s in his theatrical searches went towards formalist experiments, in particular, constructivism and biomechanics. According to the director, the Crommelynck’ grotesque-farcical play “The Magnanimous Cuckold” on the theater stage, saturated with complex diverse physical movements of the actors, was supposed to show one of the workers’ leisure activities. Les Kurbas, also seeking to radically renew the Ukrainian stage, relied on a completely different theatrical concept. Speaking for an active-revolutionary life installation, for the restructuring of social psychology and, consequently, for spiritual and moral values, Kurbas in his articles and conversations called for fighting the limited outlook of the Nepmen and provincial inhabitants who only think about endless prosperity [9; 10]. Realizing his concept in life, it is not by chance that the director chooses for the premiere of the first season of “Berezil” in Kharkov the play “Tripes d’or” (“The Golden Womb”) just written by Crommelynck (1925). Note that “Tripes d’or” in its content is much more complicated than the “Le Cocu magnifique”. In our opinion, the playwright, using allusions to the work of European prose writers of the XIX century, seeks to show that even an honest and decent person, becoming the owner of a large inheritance, will begin to degrade morally; gold, sooner or later, will become a fetish. Moreover, in “Tripes d’or” it is quite clearly shown that the uncle of Pierre-Auguste himself (the hero of the piece) – AnnaRomainHormidas deGutem– passed through the temptation of wealth. Hormidas’ niece Melina, who eventually got the “throne” with a pottery filled with gold dust, will also pass along this path. In addition, Crommelynck in his play reveals a number of stages of Pierre-Auguste’s painful struggle with the attractive power of gold: from understanding that gold will soon turn into a dragon that will kill a knight, through the realization that “gold in itself is fascinating”, to recognition: “I want to destroy everything ... what is near money .. so that there is no – neither the past, nor the present, nor the future ...” [7: 149, 160]. At the same time, the author in a number of scenes departs from the tragic pathos and appeals to the grotesque, which allows in the “Tripes d’or” to organically combine the real and the fantastic. Thoughtfully approaching the text of the play, Kurbas saw in its plot not the single tragedy of Pierre-Auguste, on which a huge inheritance had suddenly fallen, but a rather common phenomenon in the world of ordinary people thinking only of profit. Therefore, the director chooses not a psychological disclosure of characters, but a grotesque beginning, which allows exposing the thinking of the Nepmen and bourgeois living in petty, personal interests. The original design of the play “The Golden Womb”, semi-grotesque and half-realistic costumes of the actors, their playing and characters’ associations with animals to clarify the understanding of the stage images – all this, on the one hand, exposes the mercantile consciousness of the modern tradesman, on the other – discloses the original approach of the director to modernist text. Conclusions. By turning to modernist dramaturgy and relying on the modern possibilities of the avant-garde theater, both outstanding directors created original productions. If Meyerhold, during this period, was interested in formal experiments and revealing the possibilities of constructivism and biomechanics, so for Kurbas, who was also interested of constructivism, nevertheless, other tasks came to the fore. It was necessary for him to bring up a new theater audience in a short time: to change philistine psychology demonstrating new horizons for the development of public life and the wide possibilities of man in it. It is evidently, that the analysis of the new European dramaturgy and new experiments in the Soviet theater of the 1920–1930s is not limited to what has been said, and further careful study of these problems is required.
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Hodgson, Amanda. "Dancing on the Strand: The Adelphi Theatre’s Dance Repertoire, 1840–1860." Dance Research 41, no. 2 (November 2023): 235–52. http://dx.doi.org/10.3366/drs.2023.0405.
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Dance was ubiquitous on the early Victorian stage but theatre dance of the period has received little critical attention. Examination of the repertoire of the Adelphi Theatre in London in 1840–1860 shows that dance occurred in a wide range of theatrical contexts including melodrama, farce, extravaganza and burlesque. The Adelphi also specialised in adaptations of Romantic ballets that combined spectacle, narrative, dance and song. In such theatre pieces dance could be not only decorative, but also fully integrated into the structural and thematic contexts in which it was embedded. In The Enchanted Isle, for example, dance makes a suggestive contribution to the political agenda of the play.
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Bayne, Clarence S. "The Origins of Black Theatre in Montreal." Canadian Theatre Review 118 (June 2004): 34–40. http://dx.doi.org/10.3138/ctr.118.004.
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Montreal’s early experiences of Black theatre go back to the minstrel shows of the 1850s at the Odd Fellow’s Hall and the Garrick Club Theatre. These shows seldom involved Black artists. The companies consisted of white performers, who painted their faces black to adopt the facial traits of the Black performer. These minstrel shows presented caricatures of Blacks, in an extremely racist and demeaning light. In 1851, a Black group, called the Real Ethiopian Serenaders from Philadelphia, added to this buffoonery and the demeaning of Blacks, through its Shaker burlesque act. Garry Collison writes that parodies like the [Real] Ethiopian Serenaders’ “Shaker Burlesque” or the standard comic lecturer who spouted gibberish “played flagrantly to the white racist beliefs in the intellectual inferiority of blacks” (Collison 180). Far from educating its audiences as to the social value of Blacks and Black culture, the shows served to implant images of Blacks as childlike, of low intellectual capacity, and incapable of being assimilated into white society and civilization; as capable merely of a clownish, clumsy imitation of white culture (Collison 180). The minstrel shows continued to be a very popular form of theatrical entertainment throughout the later part of the nineteenth and the early twentieth centuries. Their racist social content received very little critical disapproval in the press of the time. In fact, historian Robin Winks considers this to be one of the principal instruments by which Canadians had, by the end of the nineteenth century, learned to be racist in their perception of and attitudes towards Blacks. It took approximately eighty years, after the 1851 appearance of the Ethiopian Serenaders at the Royal Theatre, before we began to see the emergence in Montreal of the social, political and economic conditions from which a theatre movement initiated by Blacks, for Black expression, development and pride could take root.
Dissertations / Theses on the topic "Burlesque (Theater)"
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Fargo, Emily Layne. ""The fantasy of real women" new burlesque and the female spectator /." Columbus, Ohio : Ohio State University, 2008. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1211331939.
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King, Portia Jane. "Shake it hard feminist identity and the burly-Q /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5798.
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Thesis (M.A.)--University of Missouri-Columbia, 2008.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on August 12, 2009) Includes bibliographical references.
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Wellman, Elizabeth Joanne. "Taught It to the Trade: Rose La Rose and the Re-ownership of American Burlesque, 1935-1972." The Ohio State University, 2015. http://rave.ohiolink.edu/etdc/view?acc_num=osu1439764548.
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Williams, Carl Glenwood. "No Sleep 'til Minsky's: A One-Man Tribute to Burlesque and Vaudeville." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2099.
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No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress.
The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate in staging sketches described by Drake, as well as allowing external acts to splice their material into a performance.
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Riverti, Camille. "La farce verbale quechua. Une ethnographe en pays burlesque et érotique." Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0023.
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La thèse s’attache à esquisser les contours de la farce verbale quechua, telle qu’elle est pratiquée dans les Andes centrales du Pérou, par les membres de la communauté de San Juan de Dios. De prime abord, l’objet semble extrêmement classique. Dialogue rituel explorant l’alliance burlesque, il correspond au concept anthropologique de « parenté à plaisanterie ». Mais la façon dont nous l’abordons est inédite. Cible de l’humour verbal érotique, nous avons activement participé aux farces. Forts de cette position interactionnelle, nous avons mis en place les outils de l’anthropologie linguistique en enregistrant in situ, en transcrivant et en interprétant les textes avec nos collaborateurs. La thèse propose ainsi une lecture nouvelle de la « parenté à plaisanterie » à partir d’une position interne au phénomène prêtant une oreille attentive à ce qui est dit et à la façon dont c’est dit. Dans cette perspective, la farce quechua offre un matériau fécond à l’étude des rapports entre les sexes et ce, tant à l’échelle de la participation, des métadiscours que de l’interaction. De part leur cadre participationnel, les performances rendent compte d’un régime d’affinité par défaut dans lequel est compris l’étranger (en l’occurrence, l’ethnographe). C’est pourquoi les farces se trouvent au cœur d’une polémique métalinguistique brûlante interrogeant le rapport entre la parole érotique et l’action sexuelle. Soupçonnées d’être sexuellement performatives, les farces constituent - c’est notre thèse - des parodies de routines verbales d’alliance. Transformant en même temps que reproduisant, elles sont à même de montrer la façon différenciée dont les hommes et les femmes travaillent le rapport à l’autre sexe sur le plan humoristique. En somme, la farce, théâtre hétérotopique de la différence sexuelle, ouvre un espace réflexif au sein duquel la société joue, par le biais de personnages et du miroir de l’étranger, à s’imiter, à se détourner, à se regarder et à réfléchir sur elle-mêmeThis study sketches the contours of the Quechua verbal farce, as practiced in the Peruvian central Andes, by the members of the San Juan de Dios community. At first glance, this object seems extremely classical. As a ritual dialogue exploring burlesque alliances, it corresponds to the anthropological concept of “joking relationships". But our approach is unprecedented. Target of erotic verbal humor, we actively participated in the farces. Drawing on this interactional position, we have implemented the tools of linguistic anthropology by recording in situ, transcribing and interpreting the texts with our interlocutors. The thesis thus proposes a new reading of “joking relationships” from within the phenomenon, listening carefully to what is said and how it is said. In this perspective, the Quechua farce offers fertile material for the study of relationships between sexes at the level of participation, meta-discourse and interaction. Through their participation frame, performances account for a default affinity regime in which the stranger (in this case, the ethnographer) is included. In this way the farces are at the heart of a burning metalinguistic controversy questioning the relationship between erotic speech and sexual action. Suspected of being sexually performative, farces are, we argue, parodies of verbal affinity routines. Transforming as well as reproducing, they are able to show the differentiated ways in which women and men deal with the other sex in a humorous way. In short, the farce, heterotopic theatre of sexual difference, opens up a reflexive space in which the society plays, both through the characters and the mirror of the stranger, imitating and diverting itself, observing and reflecting on itself
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Costa, Araújo Ligiania. "Non per tutto l'età m'aggrinza : Le vecchie comiche nell'opera veneziana del seicento." Thesis, Tours, 2008. http://www.theses.fr/2008TOUR2028/document.
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Les rôles des vieilles comiques appartiennent aux conventions dramaturgiques établies par les nouvelles règles de l’opéra vénitien payant du Seicento. Entre 1638, date de la première apparition d’un râle de vieille comique sur les scènes vénitiennes, et la fin du siècle, cent quatorze personnages de cette typologie ont habité les trames crées par les librettistes vénitiens. La typologie à laquelle cette étude s’intéresse se caractérise par un comique poussé et ironique, par un fort appétit sexuel, par des idées proto-féministes sur la vie amoureuse mais également par un discours moral sur la caducité de la vie avec un fond extrêmement optimiste qui reprend la maxime horatienne du carpe diem. D’un point de vue purement dramaturgique, ces rôles, en tant que doubles des serviteurs, sont responsables des liaisons entre les scènes, des commentaires sur les évènements de l’intrigue ainsi que du comic relief. Dans un premier temps, il s’agit d’établir une généalogie de ces rôles, et de déterminer quelles caractéristiques les vieilles nourrices de l’opéra italien ont hérité de leurs prédécesseurs du théâtre improvisé et savant, ainsi que de la littérature. Une fois établies les particularités littéraires et musicales les plus récurrentes, celles-ci sont prises en examen par rapport à la trame d’une part, et en tant que topoi isolés d’autre part. L’intention de cette étude est de mener une réflexion globale qui ne soit ni étroitement musicologique, ni spécifiquement littéraire. Celle-ci veut interroger les rapports intimes bien souvent masqués entre culture populaire et culture savante, entre place publique et théâtre, entre improvisation et écritureThe role of the old comic nurse pertains to the dramaturgic conventions established in the new rules of the Venetian Seicento public opera. Between 1683, when the first old comic nurse appears on Venetian scenes, and the end of the century, one hundred and fourteen characters of this kind have thickened the plots created by the Venetian librettists. The character at the core of this research presents an exaggerated and ironic humor, a great sexual appetite, some proto-feminist ideas on love, but also a moral discourse on the caducity of life which usually has a very optimistic side to it and finds its main argument in the Horatian motto of the carpe diem. From a purely dramaturgic point of view these roles work as doubles to those of the servants, are used to connect successive scenes, to comment on the plot and to offer some comic relief. It is important to establish a genealogy of these robes, and to determine what characteristics the old nurses of Italian opera have inherited from their predecessors in the improvised and written theatre, and also in literature. After having determined the most recurring textual and musical elements, these are examined against the plot but also as isolated topoi. The aim of this study is to carry out a general reflection which is neither narrowly musicological, nor specifically literary, and to inspect die intimate and often concealed relationships between popular and high culture, public square and theatre, improvisation and writing
I ruoli di vecchie donne comiche appartengono alle convenzioni drammaturgiche stabilite fra le nuove regole dell’pera commerciale veneziana del Seicento. Fra 1638, data della prima apparizione di un ruolo di vecchia comica sulle scene veneziane, e la fine del secolo, cento quattordici personaggi di questa tipologia hanno abitato gli intrecci creati dai librettisti veneziani. La tipologia alla quale questo studio s’interessa si caratterizza per una comicità spinta e ironica, un forte appetito sessuale, idee proto-feministe sulla vita amorosa ma anche per un discorso morale sulla caducità della vita con uno sfondo estremamente ottimista che riprende la massima oraziana del carpe diem. Da un punto di vista puramente drammaturgico, questi ruoli, in quanto doppi dei servi, svolgono funzioni di legame fra le scene, commento sugli eventi dell’intreccio e offrono momenti di comic relief. In un primo tempo abbiamo cercato di stabilire una genealogia di questi ruoli e di determinare quali sono le caratteristiche che le vecchie nuttici dell’opera veneziana hanno ereditato dalle loro precorritrici del teatro improvvisato ed erudito, e dalla letteratura. Una volta stabilite le particolarità letterarie e musicali più ricorrenti le abbiamo analizzate in rapporto agli intrecci ed in quanto topoi a parte. Lo scopo di questo studio è di realizzare una riflessione globale non strettamente musicologica, né specificamente letteraria al fine di interrogarsi sui rapporti intimi e spesso nascosti tra culture popolari ed erudite, piazza pubblica e teatro, improvvisazione e scrittura
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Négrel, Éric. "Théâtre et carnaval, 1680-1720 ˸ coutume, idéologie, dramaturgie." Thesis, Sorbonne Paris Cité, 2018. http://www.theses.fr/2018USPCA123.
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La rencontre du théâtre et du carnaval est aussi ancienne que le carnaval lui-même. D’une part, les cérémonies et les comportements collectifs possèdent, en propre, une dimension spectaculaire ; d’autre part, les jeux dramatiques font partie intégrante du rituel. Dans la France d’Ancien Régime, les réjouissances du carnaval sont un temps fort du calendrier, qui occupe toute la société pendant plusieurs semaines, des Rois au Carême. Les comédies créées pendant cette période, au Théâtre-Italien, à la Comédie-Française, à la Foire Saint-Germain, se rattachent explicitement à la coutume et s’insèrent dans son cycle cérémoniel. Plus largement, tirant parti de cette proximité calendaire, les dramaturges recourent au langage symbolique du carnaval, à celui du charivari, pour inventer un système de représentation du réel qui en offre un mode d’intelligibilité spécifique. Une langue pleine d’équivoques scabreuses et de saillies ordurières, des lazzis outrés et obscènes, un univers fantaisiste et bouffon, des personnages extravagants et burlesques : les modèles comiques qui se développent, de 1680 à 1720, sont à rattacher à la culture carnavalesque et à son imaginaire mythico-rituel. Les croyances et les pratiques symboliques innervent la création dramatique et participent à la construction de son sens, en lien étroit avec le contexte historique dans lequel s’inscrivent les œuvres. Il convient de restituer à ce théâtre la dimension anthropologique qui est la sienne, si l’on veut accéder à sa raison esthétique. La comédie de mœurs offre alors un nouveau visage : représentant la société contemporaine comme un monde à l’envers sur lequel règnent des souverains parodiques, elle revêt des enjeux idéologiques et possède une portée politique. Parallèlement, c’est aussi le concept critique de « carnavalesque » qui apparaît sous un jour inéditThe meeting of theatre and carnival is as old as carnival itself. On the one hand, ceremonies and collective behaviour have a spectacular dimension in themselves; on the other hand, dramatic performance is an integral part of the ritual. In the early modern France, celebrating carnival was a key moment of the year, and kept the whole society busy for several weeks from Epiphany (or Twelfth Night) to Lent. The comedies created during that period at the Théâtre-Italien, at the Comédie-Française or at the Saint-Germain Fair, are explicitly related to the custom and fit into its ceremonial cycle. More generally, playwrights took advantage of the calendar proximity and used the symbolic language of carnival, that of charivari, to invent a system of representation of reality that offers a specific mode of intelligibility. A language full of lewd ambiguities and bawdy sallies, offensive, obscene lazzi, a fanciful, farcical universe, extravagant and burlesque characters: the comic models that developed, from 1680 to 1720, are to be related to the carnivalesque culture and to its mythical and ritual imaginary world. Symbolic beliefs and practices pervade the dramatic creation of that time and partake in the construction of its meaning, in close connection with the historical context within which the works are framed. It is necessary to restore their anthropological dimension to these plays to grasp their aesthetic purpose. The comedy of morals after Molière then offers a new face: as the plays represent the contemporary society as a world that has been turned upside down and that is ruled by parodic monarchs, they tackle ideological issues and have a political significance. It is also the critical concept of "carnivalesque" that appears in a new light
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"Epochs of impossibility: A Marxian theory of dramatic parody and burlesque." Tulane University, 1998.
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Predicated on the assumption that dramatic parody and burlesque cannot be adequately decoded without the intervention of Marxian theory, this project attempts to reintroduce the problems of history, politics, economics, class, and ideology into the study of these two genres. Theodor Adorno's definition of parody as 'the use of forms in the epoch of their impossibility' forms the basis of a historical overview of the ability of dramatic parody and burlesque to expose the ideological impossibilities so often perpetuated in tragic and heroic genres through obsolete forms, commodified language, myths of individuality, and eradication of otherness. Adorno's theory of negative dialectics provides access to early modern dramas by Mr. WM., Francis Beaumont, Henry Fielding, John Brougham, and George Villiers, Duke of Buckingham, while Adorno's theories on the culture industry provide insight into the plays of David Rabe and Christopher Durang. Finally, contemporary theories of parody by Linda Hutcheon and Fredric Jameson are examined in conjunction with the theories of Adorno, and plays by Charles Busch, George C. Wolfe, and Tony Kushner are offered as evidence that dramatic parody and burlesque are still vital, ideologically powerful genresacase@tulane.edu
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Bringardner, Charles Albert. "Popular entertainment and constructions of Southern identity: how burlesques, medicine shows, and musical theatre made meaning and money in the South, 1854-1980." Thesis, 2007. http://hdl.handle.net/2152/3001.
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Bringardner, Charles Albert 1978. "Popular entertainment and constructions of Southern identity : how burlesques, medicine shows, and musical theatre made meaning and money in the South, 1854-1980." 2007. http://hdl.handle.net/2152/13176.
Full textBooks on the topic "Burlesque (Theater)"
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Paris, Yvette. Queen of burlesque: The autobiography of Yvette Paris. Buffalo, N.Y: Prometheus Books, 1990.
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Grand Opera House (London, Ont.), ed. Grand Opera House, London, Ont., programme: Tuesday, February 11th, The Trocadero Vaudevilles .. [London, Ont.?: s.n., 1986.
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Cary, David. A bit of burlesque: A brief history of its times & stars. San Diego, Calif: Tecolote Publications, 1997.
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Rosebush, Judson. Burlesque: Exotic dancers of the 50s and 60s. Atglen, PA: Schiffer Pub., 2010.
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Lashes, Vivian. Glitter on the mattress: A burlesque beauty zine. Bloomington, IN: The author, 2012.
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Summers, Dusty. Magical world of burlesque: 1973-1986. West Conshohocken, PA: Infinity Pub., 2013.
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Ava, Amorous. Pastie politics: Burlesque and feminism in New Zealand. Auckland, N.Z: She-Wolf Press, 2015.
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Briggeman, Jane. Burlesque: Legendary stars of the stage. Portland, Or: Collectors Press, 2004.
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Hébert, Chantal. Le burlesque québécois et américain: Textes inédits. Québec: Presses de l'Université Laval, 1989.
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Campins, Antoni Serrà. El teatre burlesc mallorquí, 1701-1850. Barcelona: Curial, Edicions Catalanes, 1987.
Find full textBook chapters on the topic "Burlesque (Theater)"
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Frankel, Noralee. "The Burlesque Stage." In Stripping Gypsy, 13–24. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368031.003.0002.
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Abstract According to Gypsy’s autobiography, the band at the Gaiety Theater in Toledo played “Little Gypsy Sweetheart.” Slowly and sensuously removing black-headed dressmaker’s straight pins from her lavender dress, Gypsy dropped the pins into the tuba in the orchestra pit below. They pinged as they hit the brass bell. Just as the music halted, she removed her shoulder straps and her filmy net dress fell on the floor. “Wrapping the curtain around me I disappeared into the wings,” explained Gypsy, describing her first striptease. For another act, she dressed as a bird. She started at the top of the stairs and slowly descended. The applause grew. Gypsy flapped her wings and exposed parts of her lovely body. “It was the least I could do, I thought, to show my appreciation,” she explained. From the beginning, she acted like a star. “As the curtain began to close in I stepped forward and took the folds and brought them slowly together, smiling out at the audience until the two sides met.” Playfulness with the curtain remained a part of her act throughout her career. Gypsy was probably nineteen.
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Johnson, Jake. "Re-Placing the American Musical." In Lying in the Middle, 12–26. University of Illinois Press, 2021. http://dx.doi.org/10.5622/illinois/9780252043925.003.0002.
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This chapter offers an overview of musical theater’s development in America, arguing for a reassessment of New York City’s centrality in the genre’s history. Musical theater emerges out of vaudeville, blackface minstrelsy, operetta, burlesque, ethnic theater, and other theatrical forms. These influences merged urban and rural sensibilities, and this chapter shows how fluidly theatrical values exchanged among cultural outposts in the middle of the country and the eventual commercial centers of Broadway and Hollywood. Contrary to popular opinion, these commercial centers do not define the history or work of musicals in America. In conclusion, this chapter argues that musicals must be re-placed--untethered solely from places of commercial industry and imagined as doing valuable work among communities in America’s Middle.
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Milbrodt, Teresa. "Sexy Like US." In Sexy Like Us, 193–224. University Press of Mississippi, 2022. http://dx.doi.org/10.14325/mississippi/9781496838919.003.0011.
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This chapter analyzes how media representations have repeated the stereotype of the “brave” disabled person in the guise of the burlesque performer, and how performers with disabilities have employed burlesque to enact a comic political critique against mainstream notions of disability and sexuality. The second half of this chapter examines a cabaret-style community theater performance titled Sexy Voices, which features disabled actors exploring disability and sexuality in both poignant and humorous ways. This art form presents an opportunity for people with disabilities to expand the notion of disabled sexuality through humor. The chapter employs Jose Munoz’s idea of disidentification to demonstrate the myriad of ways that disabled people can queer sexual practice and open the definition of what it means to be a sexual being.
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Wagner, Bryan. "The Trial of Romeo Rosebud." In Looking for Law in All the Wrong Places, 287–98. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283712.003.0016.
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Theatricality was essential to the legal process in late nineteenth-century police courts. Structured to dispatch their dockets quickly and inexpensively, police courts had no pretense to due process, and their outcomes were left to the discretion of the mayor or magistrate, leaving a lot of room for improvisation. After the format for blackface theater was standardized in the 1840s, the afterpiece of many shows was set in a police court, and these burlesque courtroom scenes betray a surprisingly robust understanding of the mechanics of the minor judiciary. Combined readings of a blackface theater script and of late nineteenth-century reporting on these tribunals show how representations of police courts, which were viewed as a form of entertainment, derived from the standard minstrel repertoire. Spectators of the play as well as readers of newspapers experienced the courtroom as popular theater, where people whose rights were rarely respected experienced the theater of law.
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Lewis, Bernard. "Islamic Revolution." In From Babel to Dragomans, 299–312. Oxford University PressNew York, NY, 2004. http://dx.doi.org/10.1093/oso/9780195173369.003.0032.
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Abstract In revolutions, even more than in other forms of political activity, there is an element of theater. This is evidenced by the almost universal use of such words as drama, stage, scene, role, even actor, in speaking of revolutionary events. Revolutionaries are, of course, conscious of this dramatic element. Some indeed, Karl Marx among them, have even used such unkind words as farce and burlesque to describe certain revolutionary activities. We do not hear these words applied to the revolution in Iran.
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Swallow, Peter. "Aristophanes Burlesqued." In Aristophanes in Britain, 63–89. Oxford University PressOxford, 2023. http://dx.doi.org/10.1093/oso/9780192868565.003.0004.
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Abstract For about forty years from the start of the Victorian period, the British theatre was dominated by burlesque, a form of popular entertainment that incorporated parody, comedy, stagecraft, and musical theatre. It frequently engaged with the classics as well; countless burlesques travestied Greek tragedy, classical epic, myth, and history. Despite the genre’s obvious similarity to Aristophanic humour, however, only one burlesque was performed which directly parodied Old Comedy—James Robinson Planché’s The Birds of Aristophanes (1846). This chapter explores the Victorian burlesque genre to discover why Planché decided to write his adaptation of Aristophanes and why the play was ultimately unsuccessful. It sets Birds into context as a reactionary piece of theatre written during a period of major political reform.
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Skeel, Sharon. "“An enormous macédoine of musical comedy, patriotism, and burlesque, spangled with American history—that is ‘American Jubilee.’ ”." In Catherine Littlefield, 197–222. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190654542.003.0013.
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Joan McCracken leaves the Littlefields to perform at Radio City Music Hall and eventually on Broadway. Catherine stages dances for the large-scale “American Jubilee” pageant at the World’s Fair in New York in 1940. Her innovative bicycle ballet in the pageant is a tremendous hit. Al Jolson hires her for his comeback show on Broadway, Hold On to Your Hats. She is then enlisted to choreograph ice-skating routines for New York’s Center Theatre, which has been converted into an ice theater by Chicago entrepreneur Arthur Wirtz and his business partner, Olympic skating champion Sonja Henie. Wirtz soon installs Catherine as choreographer for Henie’s touring Hollywood Ice Revues as well. She takes her Littlefield Ballet on an eight-week national tour. She and Philip officially separate, although they remain friends and business associates. She and her Littlefield Ballet return to Chicago for the 1941 opera season. The company disbands after Pearl Harbor is bombed and many of Catherine’s male dancers, including Carl, enlist in the military.
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Frankel, Noralee. "Finding the Body." In Stripping Gypsy, 80–94. Oxford University PressNew York, NY, 2009. http://dx.doi.org/10.1093/oso/9780195368031.003.0008.
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Abstract Finding dead bodies scattered all over a burlesque theater isn’t the sort of thing you’re likely to forget. Not quickly, anyway,” begins The G-String Murders. “It’s the little things, incidents that don’t seem important when they happen, that slip your mind. With me, for instance. As long as I live, I’ll remember seeing that bloated bluish face, the twisted, naked body, and the glitter of a G-string, hanging like an earring from the swollen neck.” After returning to New York City in 1939, Gypsy decided to write a mystery novel, The G-String Murders. “People think that just because you’re a stripper you don’t have much else except a body. They don’t credit you with intelligence,” she later complained. “Maybe that’s why I write.” Gypsy worked as hard on her writing as her stripping, and The G-String Murders became a best seller.
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Adriaensens, Vito, and Steven Jacobs. "The Sculptor’s Dream: Living Statues in Early Cinema." In Screening Statues, 29–45. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474410892.003.0002.
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In its earliest years of existence, cinema seems to have been fascinated by stasis and stillness. As if emphasizing its capacity to represent movement, early cinema comprises many scenes in which moving people interact with static paintings and sculptures. Moreover, films made shortly before and after 1900 often make explicit the contrast between the new medium of film and the traditional arts by means of the motif of the statue or the painting coming to life. In so doing, early film continued a form of popular entertainment that combined the art of the theater with those of painting and sculpture, namely the tableau vivant, or living picture. Focusing on the trick films of Georges Méliès and the early erotic films by the Viennese Saturn Company, this chapter reveals the importance and continuity of nineteenth-century motifs and traditions with regard to tableaux vivants as they were presented on the legitimate stage, in magic, in vaudeville, and in burlesque.
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Davies, Rachel Bryant. "Fish, Firemen, and Prize Fighters." In Epic Performances from the Middle Ages into the Twenty-First Century, 540–57. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198804215.003.0036.
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Burlesque drama—arguably the most widespread form of theatrical entertainment in nineteenth-century Britain—brought the Iliad and Aeneid to a wider range of spectators than those who traditionally encountered ancient literature and mythology at school. These entertainments both exploited contemporary performance culture and enacted the tensions between their composite ancient and modern sources. This chapter focuses on four successful examples of epic repackaged for the London stage, by renowned playwrights at leading theatres, who particularly revelled in negotiating the transformation of classical epic into popular drama: Thomas Dibdin’s Melodrama Mad! or, The Siege of Troy (1819, Surrey Theatre), Charles Selby’s Judgment of Paris; or, The Pas de Pippins (1856, Adelphi), Francis Cowley Burnand’s Dido (1860, St James’s), and his Paris, or Vive Lemprière! (1866, Strand). Analysis of these burlesques reveals deliberate anachronistic juxtapositions which turned the epic performances into complex games of identifying—or overlooking—their varied references.