Relevant bibliographies by topics / Cabaret and revue

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Cabaret and revue'

Author: Grafiati
Published: 12 December 2022
Last updated: 31 July 2025

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Journal articles on the topic "Cabaret and revue"

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Jaime, Karen. "“It Ain't Easy Being Green”: Race and Time in Stormé DeLarverie's Butch Swagger and Presence." QED: A Journal in GLBTQ Worldmaking 10, no. 3 (2023): 256–77. http://dx.doi.org/10.14321/qed.10.3.0256.

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Abstract In this article, the author analyzes the cultural, racial, sexual, and gendered politics that inform the staged and quotidian performances of masculinity by the late Stormé DeLarverie. A mixed-race butch lesbian male impersonator who, in the 1950s and 1960s, performed with the famed Jewel Box Revue, a racially integrated drag show at the Apollo Theater, DeLarverie was also a central figure in the 1969 Stonewall Riots. The author reaches across DeLarverie's personal history, life-long activism, and staged performances as a way to frame the relationship between DeLarverie's gender prese
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Ince, Bernard. "The Neglected Art: Trends and Transformations in British Concert Party Entertainment, 1850–1950." New Theatre Quarterly 31, no. 1 (2015): 3–16. http://dx.doi.org/10.1017/s0266464x15000019.

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The genre commonly referred to as the ‘concert party’ remains largely neglected by scholars of popular entertainment. In this article Bernard Ince presents a new reading of this most distinctive and underrated branch of theatrical activity. The period before the First World War saw the growth of an ‘industry’ which provided seaside amusement during the summer months. During the inter-war years, however, a more sophisticated form developed whose performative characteristics drew increasingly on revue and cabaret. The period after the Second World War saw further adaptations that gave rise to th
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Doudoux, Fabrice. "Dominique-Marie Cabaret, La Topographie de la Jérusalem antique. Essais sur l’urbanisme fossile, défenses et portes. IIe s. av. – IIe s. ap. J.-C, Louvain, Peeters, coll. « Cahiers de la Revue Biblique » 98, 2020, 376 p." Revue historique 702, no. 2 (2022): 461–64. http://dx.doi.org/10.3917/rhis.222.0461.

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Arnould-Béhar, Caroline. "Dominique-Marie Cabaret, La topographie de la Jérusalem antique. Essais sur l’urbanisme fossile, défenses et portes. IIe s. av. – IIe s. ap. J.-C., Cahiers de la Revue Biblique, Series archaeologica 2, n° 98, Leuven-Paris-Bristol, Peeters, 2020, 376 pages." Histoire urbaine N° 62, no. 1 (2022): IX—XI. http://dx.doi.org/10.3917/rhu.062.0214.

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Pollo, Gene. "Pierre Cabanes, Recherches archéologiques en Albanie 1945-1985, «Revue Archéologique», Paris, 1986, 1, f. 107-142 /Pierre Cabanes, Recherches archéologiques en Albanie 1945-1985, «Revue Archéologique » Paris, 1986, 1, pp. 107-142." Iliria 17, no. 1 (1987): 283–88. http://dx.doi.org/10.3406/iliri.1987.1449.

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Atkey, Mel. "A Million Miles from Broadway." Brock Review 12, no. 2 (2011): 1–11. http://dx.doi.org/10.26522/br.v12i2.358.

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Musical theatre can take root anywhere. The future of the musical may very well lie beyond Broadway and the West End. In recent years, successful musicals have been developed in Canada, Australia and the German speaking countries. Some, like Elisabeth, have travelled internationally without ever playing in English. Companies in Korea, Japan and China are investing in new works, both domestically and internationally. These different countries can learn from each other. In South Africa, people do literally burst into song on the streets. During the apartheid era, some of the freedom fighters wer
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Buffone, Jesica Estefanía Estefanía. "El Edipo en la obra de Maurice Merleau-Ponty: notas para el estudio fenomenológico de la infancia." LOGOS Revista de Filosofía 138, no. 138 (2022): 127–42. http://dx.doi.org/10.26457/lrf.v138i138.3175.

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El objetivo de este trabajo será analizar la lectura que Merleau-Ponty hace del complejo de Edipo, para identificar, a partir de allí, el recorrido metodológico que el filósofo francés realiza en el estudio fenomenológico de un periodo clave de la infancia. El polimorfismo infantil, la raigambre histórica de los lugares instituidos en una comunidad, el enfoque histórico y dialéctico del desarrollo, y la premaduración serán algunos de los rasgos a partir de los cuales Merleau-Ponty analiza el Edipo. Considero que la descripción que Merleau-Ponty realiza de este complejo junto con la crítica a l
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GUYOMARD, H., B. COUDURIER, and P. HERPIN. "Avant-propos." INRAE Productions Animales 22, no. 3 (2009): 147–50. http://dx.doi.org/10.20870/productions-animales.2009.22.3.3341.

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L’Agriculture Biologique (AB) se présente comme un mode de production agricole spécifique basé sur le respect d’un certain nombre de principes et de pratiques visant à réduire au maximum les impacts négatifs sur l’environnement. Elle est soumise à des interdictions et/ou des obligations de moyens, par exemple l’interdiction des Organismes Génétiquement Modifiés (OGM), des engrais de synthèse et des pesticides ou l’obligation de rotations pluriannuelles. Dans le cas de l’élevage, les critères portent sur l’origine des animaux, les conditions de logement et d’accès aux parcours, l’alimentation a
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Maldavsky, Aliocha. "Financiar la cristiandad hispanoamericana. Inversiones laicas en las instituciones religiosas en los Andes (s. XVI y XVII)." Vínculos de Historia. Revista del Departamento de Historia de la Universidad de Castilla-La Mancha, no. 8 (June 20, 2019): 114. http://dx.doi.org/10.18239/vdh_2019.08.06.

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RESUMENEl objetivo de este artículo es reflexionar sobre los mecanismos de financiación y de control de las instituciones religiosas por los laicos en las primeras décadas de la conquista y colonización de Hispanoamérica. Investigar sobre la inversión laica en lo sagrado supone en un primer lugar aclarar la historiografía sobre laicos, religión y dinero en las sociedades de Antiguo Régimen y su trasposición en América, planteando una mirada desde el punto de vista de las motivaciones múltiples de los actores seglares. A través del ejemplo de restituciones, donaciones y legados en losAndes, se
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Arntzen, Knut Ove. "Kabaret, det revolusjonære og poetiske." Teatervitenskapelige studier 1 (January 2, 2019). http://dx.doi.org/10.15845/tvs.v0i1.2605.

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In Norway, the theatrical avant-garde, 1920–1950, was oriented towards cabaret dramaturgy and symbolism. There also developed a direction of political theatre, as well as tendencies towards a more poetic-theatrical kind of theatre. Directors such as Agnes Mowinckel and Hans Jacob Nilsen were central to this development in both private and institutional theatres. A monumental realism had already established itself as a Norwegian directing style in connection with the Ibsen-tradition at Nationaltheatret, where Johanne Dybwad was a prominent figure. A major director of the avant-garde was Stein B
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Dissertations / Theses on the topic "Cabaret and revue"

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Struve, Jonathon Paul. "Friedrich Hollaender and the art of writing songs for the cabaret." Diss., University of Iowa, 2017. https://ir.uiowa.edu/etd/5650.

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Friedrich Hollaender (1896-1976) was one of the most prolific composers of cabaret song literature in Berlin between 1918 and 1933. Beginning with his work at the literary-political cabarets of the early 1920s, including Max Reinhardt’s Schall und Rauch, Trude Hesterburg’s Wilde Bühne, and Rosa Valetti’s Café Größenwahn and continuing through the cabaret revues presented at Hollaender’s own Tingel-Tangel-Theater in the early 1930s, Hollaender wrote over 200 cabaret songs. A classically trained composer who studied with Engelbert Humperdinck, Hollaender ultimately found his niche in creating ca
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Poumet, Jacques. "La satire en republique democratique allemande (1971-1980) : conditions, fonctions et problemes. etude des cabarets satiriques et de la revue eulenspiegel." Paris 8, 1987. http://www.theses.fr/1988PA080244.

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Les cabarets satiriques et la presse satirique ont en rda une assise institutionnelle solide. Apres le 8eme congres du sed , le discours tenu sur la satire en rda se caracterise par une oscillation entre l'encouragement et la reticence. Les textes de cabarets vont , d'une maniere generale, plus loin que ceux de eulenspiegel : ils mettent en question le bien-fonde de certaines normes et abordent des sujets qui restent tabous dans la presse satirique (le sed, les exces de la tutelle ideologique, les intershops , etc). Les textes satiriques refletent les points nevralgiques de l'opinion publique.
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Carvalho, Maria Lúcia da Silva Oliveira. "A II Guerra Mundial no teatro de revista português (1939-1945)." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras -- -Departamento de História, 1995. http://dited.bn.pt:80/30210.

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Poumet, Jacques. "La Satire en République démocratique allemande, 1971-1980 conditions, fonctions et problèmes : étude des cabarets satiriques et de la revue "Eulenspiegel /." Lille 3 : ANRT, 1988. http://catalogue.bnf.fr/ark:/12148/cb37609022v.

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Books on the topic "Cabaret and revue"

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Plenov, Leif. Dansk revy 1850-2000: Et uhøjtidelig tilbageblik. L & R Fakta, 2000.

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Plenov, Leif. Dansk revy 1850-2000: Et uhøjtideligt tilbageblik. L&R Fakta, 2000.

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Scaglione, Massimo. Saluti e baci. I libri de La stampa, 2001.

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Ruiz, Juan José Montijano. Madrid frívolo: Breve historia de la revista musical madrileña y los teatros que la albergaron. La Librería, 2013.

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Sánchez, Ramón Femenía. La revista: Apuntes sobre la historia del género frívolo. [Avispa?], 1997.

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Museo Nacional de Culturas Populares (Mexico), ed. El País de las Tandas: Teatro de revista, 1900-1940. 2nd ed. Museo Nacional de Culturas Populares, Dirección General de Culturas Populares, 1986.

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H, Pablo Dueñas. Las divas en el teatro de revista mexicano. Asociación Mexicana de Estudios Fonográficos, 1994.

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Hannon, Gerard. Tom and Paschal: From campfire to Carnegie Hall. The Leader, 1995.

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Jacqueline, Willemetz, and Fonds Albert Willemetz, eds. Albert Willemetz et Maurice Chevalier: Revues, sketchs et chansons au casino de Paris. Harmattan, 2011.

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Antunes, Delson. Fora do sério: Um panorama do teatro de revista no Brasil. FUNARTE, Ministêrio da Cultura, 2004.

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Book chapters on the topic "Cabaret and revue"

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"6 The Weimar Revue." In Berlin Cabaret. Harvard University Press, 1993. http://dx.doi.org/10.4159/9780674039131-009.

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"Cabaret, Variety, and Revue Entertainment." In Encyclopedia of Lesbian and Gay Histories and Cultures. Garland Science, 2003. http://dx.doi.org/10.4324/9780203487884-29.

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Mordden, Ethan. "Charleston Mad." In Pick a Pocket Or Two. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190877958.003.0004.

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This chapter investigates how the revue became all the rage in the 1910s. At this time, the London Hippodrome specialized in showing big variety shows. Joy-Land! (1915) was typical of this type of show, each number calling up gala visuals and gigantic ensembles. In the 1920s, Charles B. Cochran reinvented revue as a small but arty performance. It became sophisticated in not only its material but its fizzy performing talent. In the 1910s, however, size mattered as well as the emerging American style. The furor for the American sound, stimulated by local dance bands adopting the American style,
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Šotkovský, Jan. "‘They Dated out of Pure Love’." In The Oxford Handbook of the Global Stage Musical. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780190909734.013.29.

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Abstract This essay summarises the main tendencies in the history of Czech musical theatre of the twentieth and twenty-first centuries; it covers indigenous works as well as productions of foreign, especially British and American, musicals. The Czech musical developed as a series of creative departures from the Broadway norm, even today tending towards looser cabaret and revue formats. These formats are often the result of cultural nostalgia, whose various manifestations are closely related to the complicated political history of the Czech Republic after 1918. In its discussion of the pre-war
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Kalafatics, Zsuzsanna. "Creative Meeting on Stage of Three Artists: Eden Palashovsky, Nikolay Evreinov, Eva Zeisel (Episodes from the History of the Hungarian Theatrical Avant-Garde)." In At the Crossroads of the East and the West: The Problem of Borderzone in Russian and Central European Cultures. Institute of Slavic Studies, Russian Academy of Sciences, 2021. http://dx.doi.org/10.31168/4465-3095-3.14.

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Experimental theaters led by Ödön Palasovszky stand out among the attempts to renew the Hungarian theatrical culture of the 1920s. He was the central figure of the creative community that worked under different names, but the performances were results of a collective work. Contemplating on the nature and possibilities of theatrical art, young experimenting artists set themselves the goal of creating a reflective art aiming at the creation of a new society. In search of new ways of expression, they turned to various forms of cabaret, revue, compere-entertainer, choral genres, simultaneous play
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Cate, Phillip Dennis. "ILLUSTRER LE CHAT NOIR : le rôle des revues dans la promotion du premier « cabaret artistique » de Montmartre (1882-1897)." In L'Europe des revues (1880-1920). Sorbonne Université Presses, 2008. http://dx.doi.org/10.70551/rysi3155.

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Ehrenfried, Lara. "Adapting Audio-Vision." In Literature and Sound Film in Mid-Century Britain. Oxford University PressOxford, 2025. https://doi.org/10.1093/9780198950790.003.0003.

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Abstract Chapter 2 analyses the relationship between sound film, literature, and theatre of the late 1920s and 1930s. It argues that adaptation and reflections on the affordances of media form are key to understanding film and literary fiction in response to the coming of synchronized sound film. Musical revues and cabaret provided the sound film with plots, songs, and performers to emulate and seemed to offer a suitable model for the narrative integration of image and sound. The chapter suggests that Evelyn Waugh and Christopher Isherwood witnessed how the sound film threw itself into the ada
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Erdman, Andrew L. "The Twenties." In Beautiful. Oxford University PressNew York, NY, 2024. http://dx.doi.org/10.1093/9780197696361.003.0009.

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Abstract Movies had served Julian Eltinge well. But they were an unpredictable business, as the actor learned when a war–themed picture he made was abruptly shelved when peace unexpectedly alit in Europe. The impersonation artist pivoted between returning to vaudeville and committing fully to motion pictures, but he ultimately had to go where the work was. Because big-time vaudeville was on the decline, Eltinge found himself mounting revues in nightclubs, dinner cabarets, and cocktail lounges. Times were changing, though, and the “speakeasy culture” he found himself increasingly working in was
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Crease, Stephanie Stein. "Scuffling in Heaven." In Rhythm Man. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780190055691.003.0004.

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Abstract Thanks largely to Eubie Blake and his and Noble Sissle’s 1921 Broadway hit musical Shuffle Along, Baltimore musicians had a good reputation in New York. Chick Webb and his best friend, guitarist Johnny Trueheart, moved there in 1925 and settled in Harlem in the midst of the Harlem Renaissance. They discovered the Rhythm Club in central Harlem, an unofficial union for Black musicians. In nightly jam sessions there and at clubs nearby, they heard the best Black musicians on the New York scene and got exposure in this competitive environment. Webb met Duke Ellington, then leading his Was
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