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Burlesque meaning research paper
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Burlesque:The Unknown Cultural Phenomenon
The term Burlesque is usually thought of as slightly naughty theatre produced and performed between the 1890s and World War II. Webster defines it as a literary or dramatic work that seeks to ridicule by means of grotesque exaggeration or comic imitation, mockery usually by caricature or theatrical entertainment of a broadly humorous often earthy character consisting of short turns, comic skits, and sometimes striptease acts. Today Burlesque has no meaning as a contemporary phenomenon to most Americans. Burlesque is far from the commonplace twentieth century definition. The background, rise and fall of American Burlesque takes place in less then forty years. The entertainment known as Burlesque has had many different types of audiences. It has entertained all classes of people.
Burlesque has been a legitimate type of entertainment for centuries. Aristophanes, the classic Greek dramatist and poet was known as the "Father of Burlesque."(Sobel, 10) The word burlesque comes from the word burlare, which means "to laugh at, to make fun of." Aristophanes liked to make fun of the world and laugh at it and he wanted to make other people laugh too. The burlesque was then what a movie is now. They were written for the purpose of letting people have an escape from daily life.
The development of Burlesque in England is what affected the American stage the most. The first burlesque in England, entitled, The Most Lamentable Comedy and Most Cruel Death of Pyramus and Thisbie was produced in London in 1600. While burlesque was becoming popular it picked up two defining features: first, musical numbers and second, the play themes were based on French parodies and revues.
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...Dyed (her hair) for Love." This was commonplace at the time Burlesque was starting.
The fact that the class of people in NYC came together to enjoy a mutual entertainment at this time was an atypical occurrence. There were many barriers that kept upper, middle and lower classes apart; Burlesque was not one of them.
Bibliography
Allen, Robert Clyde, Horrible Prettiness
(1950,The University of North Carolina Press, Chapel Hill)
Corio, Ann, This Was Burlesque
(1968, Madison Square Press, Grosset and Dunlap, New York)
Sobel, Bernard, A Pictorial History of Burlesque
(1956, G.P. Putnam's Sons, New York)
American Memory
English-Language Play scripts
(Library of Congress)
http://memory.loc.gov/ammem/vshtml/vsenge.htr
The Age of Burlesque
[The Galaxy/ Volume 8, Issue 2, August 1869
Vaudeville was very popular from the late 1800s to the early 1900s in North America. Vaudeville shows were made up of many random acts that were placed together in a common play bill. Some acts were, for example, plays, clowns, jugglers, comedians, etc. Once the radio was introduced, vaudeville’s started to become less popular as the radio’s popularity started to increase. The radio started out with maximum five programs but as the demand for radios increased so did the amount of programs, which went up to almost 500. Radios was the place families and friends gathered to hear the news, sporting events, music, entertainment, etc. One show millions of people listened to was The Burns and Allen Show, starring George Burns and Gracie Allen. Allen was the one who had all the punch lines and was very silly and Burns was the straight man, serious, and was the one who allowed Allen the opportunity to say her punch lines. Burns and Allen were one of the few people who succeeded in different medians and brought changes to the way entertainment was performed.
Cullen, Frank, Florence Hackman, and Donald McNeilly. Vaudeville, Old & New: An Encyclopedia of Variety Performers in America. New York: Routledge, 2007. Print.
Parody: a piece of work that exaggerates a person, song, or film in an amusing way
The skit known as, “The Great Flydini” from the late night talk show Tonight Show starring Johnny Carson, can provide many examples of the types of humor. The skit starts off with the magician, Flydini, walking onstage and immediately pulling his zipper down. After pulling his zipper down, objects start to pop out of his pants such as flowers, rags, a puppet and much more. At one point, he has a phone come out and ring for a woman who is standing next to him. Once he walks offstage, the way that his left hand had been fake the entire time, and his real left hand was taking care of all the antics, was revealed. Then, he comes back onstage to bow and end his show.
Harlem’s public life was controlled by consumerism, there was democratic interaction by citizens. Chandler Owens, an African American writer and socialist, believed that cabarets invoked self expression and liberation. He wanted them incorporated into Harlem’s public life. However, other citizens were afraid that their community was going to become the central place for “entertainment and profit” (312). These citizens were afraid that their neighborhood was going to become a place solely for the purpose of making money. In the last paragraph of page 312 to the last paragraph of page 313 of Kevin Mattson’s “The Struggle for an Urban Democratic Public: Harlem in the 1920s” Mattson makes the argument that not only citizens, but also intellectuals came together to fight against issues that they believed were detrimental to their community. He argues that their battle against cabaret had everything to do with their morality and their “balance between rights and duties” (314) and nothing to do with Victorian prudery as Chandler Owen believed.
Slide, Anthony. The Encyclopedia of Vaudeville. Westport, CT: Greenwood, 1994. Google Books. Web. 1 May 2014.
In her essay “Visual Pleasure and Narrative Cinema”, Laura Mulvey discusses the subject of how female characters, through various methods, are subjected to erotic objectification, by both the characters on screen as well as the spectators within the auditorium. While Mulvey makes an excellent point in acknowledging female’s exposure in cinema, she fails to realize that male characters are just as likely to be subjected to the same kind of objectification, depending on what type of audience the motion picture is directed at. Mulveys claim depends on a generalization of a homogenous audience and characters that only consists of heterosexual men. When transferring Mulveys claim onto homosexual male characters starring in a production that is in first-hand directed towards a gay audience, the erotic objectification of male characters share several similarities with those Mulvey describe women to be exposed to in her essay. Consequently, erotic objectification is governed by different circumstances, in which the audience plays a large role.
The setup of the show was a mix of song, dance and dialogue. The unique quality presented in the show was the Vaudeville type numbers. Vaudeville theatre was very popular variety shows during the 1920's. Star hopefuls start out with an act and hope to be discovered someday. Some types of acts are musical numbers, dance num...
Al Capone was born in Brooklyn, New York, on January 17,1899. He was the fourth of seven sons and two daughters. His parents, Gabriel and Theresa, were one of thousands of Italians who arrived in New York in 1894 for a better living. The early Capone was slashed with a knife across his left cheek by a young hoodlum in a restaurant , For harassing a woman, prompting the later nickname ‘’Scarface.’’Then Capone met a gangster named Johnny Torrio, who taught Capone how to build a corporate empire. Torrio moved from New York to Chicago in 1909 to help run a giant brothel business. In 1919 Capone joined Torrio’s James Street Boys gang in Chicago, Where he had become an Influential Lieutenant in the Colosimo mob. In 1925, Al Capone became boss when Torrio was seriously wounded in an assassination attempt, surrendered control and retired to Brooklyn. As Prohibition began, New bootlegging operations opened up and drew in immense wealth. Capone started running gambling, prostitution, and gunning down rival gangs. Capone kidnapped opponents, election workers and threatened voters with violence. Later he eventually won office in Cairo but then his brother frank had been killed in a shootout with the Police of Chicago. Capone left for Miami with his wife and children and bought Palm Island estate,...
With the turn of the century, society and technology evolved and so did the minstrel shows. The introduction of the television gave the shows a new platform to broadcast their content to more american audiences. While not as harsh as the shows in the 19th century’s shows, the modern minstrel shows were “vestiges of their racial stereotyping and performances aesthetics persisted for decades in various performance mediums. ” (7). The show 's popularity forged a strong foundation for careers in the entertainment industry for African Americans. African Americans often could find great success in pursuing musical, or comedic careers following the minstrel shows. And as the shows finally died out, this underlying principle stayed true as the United States progressed. The minstrel shows facilitated African Americans into many forms of the entertainment as various performers. The shows play a major role in developing the comedic basis for African American entertainers even today. As referred to in the modern day , “Black Comedy” is extremely favored by the populus. Famous black comedian Dave Chappelle, once played a role as a “racial pixie”. Chappelle performed as a oddly dressed pixie on the shoulders of African Americans and sang, danced, and encouraged the individual to given into the stereotypes of society (4). Perhaps what disturbed Chappelle the most was the
Elizabethan times in the 1600s was a progression for the world of the theater. A period named after Queen Elizabeth I of England, it is from this period that modern day society has its foundation for the entertainment industry. From the violence that was prevalent because of the Black Death, people turned to the theater for its poetry and romance. During this time period, there were two types of theatrical performances that were available for the people’s viewing, comedies or tragedies. These two genres were never really intertwined until the time of William Shakespeare. His play, Romeo and Juliet, is an example of both a comedy and a tragedy. It starts off as a comedy with Romeo weeping like a baby because of his love Rosaline, who did not love him back and ends as a tragedy when Romeo and Juliet, a pair of star crossed lovers, commit suicide because the lost of each other. It was also during Shakespeare’s time that writer were finally acknowledged by the people. Before this time, writers were not considered upper classman. Another group of people that began to rise into a higher social class were the actors. Actresses were not present back then because women were not allowed on stage. It was considered unladylike to have a female actor. Men played all the parts. Theater owners were dependent on actors to make them a profit. Rehearsals for the plays were fairly short, only lasting for about a week. The performances themselves would only show for three to four days.
Although the film has endured some criticism, the film’s after-after party at Kingston’s Club Mirage proved that Dancehall Queen isn’t “the invention of a perverted production team in search of celluloid satisfaction. Real-life dancehall queens stroked their crotches, winded their hips and rubbed their well-oiled buttocks” (St. Hill).
Alphonse Capone was born in Brooklyn, New York on January 17, 1899 to immigrants from Naples, Italy. At a very young age, he became involved in organized crime by quitting school after sixth grade and joining a local neighborhood gang. There he met Johnny Torio, who would be his eventual mentor for the crime organization in the city of Chicago. Soon Capone really hit the big time in organized crime when he joined the famous Manhattan Five Points Gang and their leader Frankie Yale, working as a bartender and bouncer. There he received his nickname, "scarface", when he was cut on his left cheek during a conflict while working at the gang's club. Under Yale, it was thought that Capone did his first of many killings. However, like many other gangsters at the time, Capone was never tried for his "alleged" or "ordered" murders do to prominence and the power that these crime families had in the community ("Capone, Al").
...he main thing that is talked about in both poems because some characters know how to accept it and believe it’s a part of everyday life. Other characters or character believe that death is something that should be grieved about and not taken lightly. In both poems Amy, and the narrator in the poem, “Because I Could Not Stop for Death”, are struggling to control the situation. But, instead of facing the issue head on they would rather leave. Both characters are trying to learn how to accept the situation, but only the narrator of Dickinson’s poem accepts, while Amy leaves likewise.
A satirical comedy is an attempt to ridicule a certain aspect of government, religion, or another aspect of society to bring about change through the use of comedy to lighten the blow. Tartuffe is a prime example of a satirical comedy. Molière used this play to point out one of the biggest flaws of organized religion during his time, religious hypocrisy. Although he may not have directly intended it to be about the Catholic Church, it was interpreted by them as such so they made the king ban it for a period of time. By making it into a play, Molière was able to reach a larger audience. People tend to enjoy plays more so due to their quick, lively nature. Plays are always changing, and they are stories being brought to life. A reader may not be interested by a short story or novella, but a play could be the very thing to draw in their attention. Molière was able to reach more people by making this into a play, therefore making the problem of religious hypocrisy more widely