678:, the Vaudeville stage was "a highly sexualized space ... where unclad bodies, provocative dancers, and singers of 'blue' lyrics all vied for attention." Such performances highlighted and objectified the female body as a "sexual delight", but more than that, historians think that Vaudeville marked a time in which the female body became its own "sexual spectacle". This sexual image began sprouting everywhere an American went: the shops, a restaurant, the grocery store, etc. The more this image brought in the highest revenue, the more Vaudeville focused on acts involving women. Even acts that were as innocent as a sister act were higher sellers than a good brother act. Consequently, Erdman adds that female Vaudeville performers such as Julie Mackey and Gibson's Bathing Girls began to focus less on talent and more on physical appeal through their figure, tight gowns, and other revealing attire. It eventually came as a surprise to audience members when such beautiful women actually possessed talent in addition to their appealing looks. This element of surprise colored much of the reaction to the female entertainment of this time.
736:, originally born Delia O'Callaghan. She had a famous catchphrase; "You know Trixi with her bag of tricks." She began her career in opera, performing to help provide for her family. The oldest of three daughters, she wanted to help her family financially but had to do it secretly, as female performers were frowned on at the time. She worked largely in comedy and gained acclaim and success due to her willingness to step into other's roles who had fallen ill, and were otherwise unable to perform. In her acts, she often emphasized her plus-size figure, calling herself the "perfect forty-six". Friganza was also a poet and writer. She used many of her performances as ways to raise money to support the poor or disenfranchised and went on record publicly numerous times to support these social causes. Friganza also spent much of her life fighting for women's equality and pushing for self-acceptance for women, both publicly and within themselves, as well as their rights in comparison to men.
792:. She worked from about 1875 to 1914. Originally born Ada Campbell, she began her life on the stage at thirteen years old following the death of her father. She and her older sister created a singing act called the "Irwin Sisters". Many years later, their act had taken off and with performances in both vaudeville and burlesque at famous music halls, until Irwin decided to continue her career on her own. She then changed her approach to vaudeville, performing African-American-influenced songs, even later writing her songs. She introduced her signature in vaudeville, "The Bully Song", which was performed in a Broadway show. This is when she began experimenting with improvisational comedy and quickly found her unique success, even taking her performances global with acts in the U.K.
615:, it would work anywhere. The question "Will it play in Peoria?" has now become a metaphor for whether something appeals to the American mainstream public. The three most common levels were the "small time" (lower-paying contracts for more frequent performances in rougher, often converted theatres), the "medium time" (moderate wages for two performances each day in purpose-built theatres), and the "big time" (possible remuneration of several thousand dollars per week in large, urban theatres largely patronized by the middle and upper-middle classes). As performers rose in renown and established regional and national followings, they worked their way into the less arduous working conditions and better pay of the big time. The capital of the big time was New York City's
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721:, was a Canadian actress who specialized in vaudeville comedy, and eventually won an Academy Award for Best Actress later in her career. Being the daughter of a musician, she moved to the United States of America in her childhood. At just fourteen years old, she left home to begin her career, lying about her age and sending her mother half of her paycheck. Dressler found great success and was known for her comedic timing and physical comedy, like carrying her male co-stars. She eventually worked on Broadway, where she had a great desire to become a serious actress but was advised to remain in comedy. She went on to star in a few films but again returned to vaudeville, her original career.
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peremptorily... if you are guilty of uttering anything sacrilegious or even suggestive you will be immediately closed and will never again be allowed in a theatre where Mr. Keith is in authority." Along these same lines of discipline, Keith's theatre managers would occasionally send out blue envelopes with orders to omit certain suggestive lines of songs and possible substitutions for those words. If actors chose to ignore these orders or quit, they would get "a black mark" on their name and would never again be allowed to work on the Keith
Circuit. Thus, actors learned to follow the instructions given to them by B. F. Keith for fear of losing their careers forever.
761:, opened on December 15, 1922, and ran until March 1, 1923. In the winter of 1923 Betty began a partnership with Jack Broderick. From then until the end of 927 Broderick & Felsen performed on the B.F. Keith and Pantages vaudeville circuits throughout the U.S. and Canada. Their act evolved from a simple dance act to one with over twenty dancers, an orchestra, and elaborate costumes and sets. From 1925 to 1926 they played for 20 straight weeks at the huge Colony Theater on Broadway in New York City. In 1926 and 1927, they starred in two spectacular musical productions, touring across the United States and Canada, first for about three months in Emil Boreoâs
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666:(see below). This foreign addition combined with comedy produced such acts as "minstrel shows of antebellum America" and Yiddish theatre. Many ethnic families joined in on this entertainment business, and for them, this traveling lifestyle was simply a continuation of the circumstances that brought them to America. Through these acts, they were able to assimilate themselves into their new home while also bringing bits of their own culture into this new world. White-oriented regional circuits, such as
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theatres, or multi-purpose halls, together catering to a wide range of clientele. Many small towns had purpose-built theatres. A small yet interesting example might include what is called Grange Halls in northern New
England, still being used. These are old-fashioned, wooden buildings with creaky, dimly-lit, wooden stages all of which is meant to offset the isolation of a farming lifestyle. These stages can offer anything from child performers to something called
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form was in decline; the perceptive understood the condition to be terminal. The standardized film distribution and talking pictures of the 1930s confirmed the end of vaudeville. By 1930, the vast majority of formerly live theatres had been wired for sound, and none of the major studios were producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but most theatres were forced by the
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576:, managed the chain to its greatest success. Circuits such as those managed by Keith-Albee provided vaudeville's greatest economic innovation and the principal source of its industrial strength. They enabled a chain of allied vaudeville houses that remedied the chaos of the single-theatre booking system by contracting acts for regional and national tours. These could easily be lengthened from a few weeks to two years.
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the immigrant racial hierarchy based on skin tone and assimilation status, cementing job positions that were previously unavailable to them as recently arrived immigrants. As a result, Irish
Americans became prominent in vaudeville entertainment as curators and actors, creating a unique ethnic interplay between Irish American use of self-deprecation as humor and their diverse inner city surroundings.
798:, a Russian Jewish immigrant, was told by promoter Chris Brown that she was not attractive enough to succeed in show business without doing Blackface, so she performed that way for the first two years onstage, until one day she decided to go without it, and achieved much greater success being herself from that point on, especially with her song "Some of These Days."
2846:, we can see strong remnants of vaudeville's typical variety act structure. Combining a host/announcer with comedy sketches, musical performances, dance, monologues, and satiric banter--sometimes even animal acts--the variety show takes myriad forms today. The vaudeville circuit of touring companies and local theatres is gone, but it lives on electronically.
1196:, used the prominence gained in live variety performance to vault into the new medium of cinema. In doing so, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years. Other performers who entered in vaudeville's later years, including
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population and in their new country as a whole by the Irish on stage. Unfortunately, the same interactions between ethnic groups within the close living conditions of cities also created racial tensions which were reflected in vaudeville. Conflict between Irish and
African Americans saw the promotion of black-face
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relief on the vaudeville stage, where stereotypes of different ethnic groups were perpetuated. The crude stereotypes that emerged were easily identifiable not only by their distinct ethnic cultural attributes, but how those attributes differed from the mainstream established
American culture and identity.
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References to vaudeville and the use of its distinctive argot continue throughout North
American popular culture. Words such as "flop" and "gag" were terms created from the vaudeville era and have entered the American idiom. Though not credited often, vaudevillian techniques can commonly be witnessed
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reflected the positive and negative interactions between ethnic groups in
America's cities. The caricatures served as a method of understanding different groups and their societal positions within their cities. The use of the greenhorn immigrant for comedic effect showcased how immigrants were viewed
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Following the Irish immigration wave were several waves in which new immigrants from different backgrounds came in contact with the Irish in
America's urban centers. Already settled and being native English speakers, Irish Americans took hold of these advantages and began to assert their positions in
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Association. Then, in 1919 Betty was accepted to be a member of the
Chicago Operaâs Pavley-Oukrainsky Ballet corps de ballet. From December 1920 until the fall of 1922 Betty was a ballerina soloist and performed with them throughout North America. Under the name Buddye Felsen, Betty landed a starring
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While the neighborhood character of vaudeville attendance had always promoted a tendency to tailor fare to specific audiences, mature vaudeville grew to feature houses and circuits specifically aimed at certain demographic groups. Black patrons, often segregated into the rear of the second gallery in
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Albee also gave national prominence to vaudeville's trumpeting "polite" entertainment, a commitment to entertainment equally inoffensive to men, women and children. Acts that violated this ethos (e.g., those that used words such as "hell") were admonished and threatened with expulsion from the week's
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Another slightly different aspect of
Vaudeville was an increasing interest in the female figure. The previously mentioned ominous idea of "the blue envelopes" led to the phrase "blue" material, which described the provocative subject matter present in many Vaudeville acts of the time. Many managers
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Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent?
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Coupled with their historical presence on the English stage for comic relief, and as operators and actors of the vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant
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which began in France at the end of the 19th century. A vaudeville was originally a comedy without psychological or moral intentions, based on a comical situation: a dramatic composition or light poetry, interspersed with songs or ballets. It became popular in the United States and Canada from the
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Inevitably, managers further trimmed costs by eliminating the last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest in the vaudeville industry realized the
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Although the Irish had a strong Celtic presence in vaudeville and in the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor. As the Irish donned their ethnic costumes, groups such as the Chinese, Italians, Germans and Jews utilized ethnic
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of remarkable careers. A standard show bill would begin with a sketch, follow with a single (an individual male or female performer); next would be an alley-oop (an acrobatic act); then another single, followed by yet another sketch such as a blackface comedy. The acts that followed these for the
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By the late 1920s, most vaudeville shows included a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that the silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount
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The interactions between newly arrived immigrants and settled immigrants within the backdrop of the unknown American urban landscape allowed vaudeville to be utilized as an avenue for expression and understanding. The often hostile immigrant experience in their new country was now used for comic
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s article about Vaudeville, it is said that at any given time, Vaudeville was employing over twelve thousand different people throughout its entire industry. Each entertainer would be on the road 42 weeks at a time while working a particular "Circuit" â or an individual theatre chain of a major
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Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn
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This "polite entertainment" also extended to Keith's company members. He went to extreme measures to maintain this level of modesty. Keith even went as far as posting warnings backstage such as this: "Don't say 'slob' or 'son of a gun' or 'hully gee' on the stage unless you want to be canceled
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The manager's comments, sent back to the circuit's central office weekly, follow each act's description. The bill illustrates the typical pattern of opening the show with a "dumb" act to allow patrons to find their seats, placing strong acts in second and penultimate positions, and leaving the
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in a hostile buyout, acquired the Keith-Albee-Orpheum Theatres Corporation (KAO), which had more than 700 vaudeville theatres across the United States which had begun showing movies. The shift of New York City's Palace Theatre, vaudeville's center, to an exclusively cinema presentation on 16
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Betty Felsen was an American ballerina, vaudeville star, and teacher. She was born on June 9, 1905, in Chicago, IL Betty began taking lessons at a local Chicago ballet school when she was eight years old, and often performed solo dances in shows presented by that school. Just before her tenth
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Vaudeville was instrumental in the success of the newer media of film, radio, and television. Comedies of the new era adopted many of the dramatic and musical tropes of classic vaudeville acts. Film comedies of the 1920s through the 1940s used talent from the vaudeville stage and followed a
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670:'s "Peanut Circuit", also provided essential training grounds for new artists while allowing established acts to experiment with and polish new material. At its height, vaudeville was rivaled only by churches and public schools among the nation's premiere public gathering places.
706:, as women's role in public life was expanding. These expectations for women in the 19th century played a big role in the compelling aspects of vaudeville. Through vaudeville, many women were allowed to join their male counterparts on the stage and found success in their acts.
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plays, acrobatics, singing, dancing, and comedy. As the years progressed, people seeking diversified amusement found an increasing number of ways to be entertained. Vaudeville was characterized by traveling companies touring through cities and towns. A handful of
1868:... the widespread influence Dutch minstrels and comedians had with their musical and dramaturgical idiom on vaudeville, the circuit of traveling tent shows. ... The Black Crook of 1866 ... already displayed a mixture of "ersatz German romanticism" (
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In this bill, as in many vaudeville shows, acts often associated with "lowbrow" or popular entertainment (acrobats, a trained mule) shared a stage with acts more usually regarded as "highbrow" or classical entertainment (opera vocalists, classical musicians).
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as new arrivals, but also what they could aspire to be. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty to the lace curtain became a model of economic upward mobility for immigrant groups.
584:, often to the delight of the very audience members whose sensibilities were supposedly endangered. He eventually instituted a set of guidelines to be an audience member at his show, and these were reinforced by the ushers working in the theatre.
420:" shows provided romantic vistas of the disappearing frontier, complete with trick riding, music and drama. Vaudeville incorporated these various itinerant amusements into a stable, institutionalized form centered in America's growing urban hubs.
487:"A man and two women who do a singing turn of the operatic order. They carry special scenery which is very artistic and their costumes are original and neat. Their voices are good and blend exceedingly well. The act goes big with the audience."
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Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences.
769:. After Jack quit the act near the end of 1927, Betty continued to manage the troupe and, with a new dance partner, toured throughout the northeastern United States for the next six months as Betty Felsen and Company. The final performance of
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caricatures to understand themselves as well as the Irish. The urban diversity within the vaudeville stage and audience also reflected their societal status, with the working class constituting two-thirds of the typical vaudeville audience.
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By the late 1890s, vaudeville had large circuits, houses (small and large) in almost every sizable location, standardized booking, broad pools of skilled acts, and a loyal national following. One of the biggest circuits was Martin Beck's
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in the mid-19th century, Irish Americans interacted with established Americans, with the Irish becoming subject to discrimination due to their ethnic physical and cultural characteristics. The ethnic stereotypes of Irish through their
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played to both white and black audiences, early Vaudeville performances for white audiences were limited to one Black act per show, and performers faced discrimination in restaurants and lodging. Entertainers and entrepreneurs like
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rest of the show would vary from musicals to jugglers to song-and-dance singles and end with a final extravaganza â either musical or drama â with the full company. These shows would feature such stars as ragtime and jazz pianist
382:, entertainment existed on a different scale. Similar variety theatre existed before 1860 in Europe and elsewhere. In the US, as early as the first decades of the 19th century, theatergoers could enjoy a performance consisting of
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place in the public's affection. With the introduction of talking pictures in 1926, the burgeoning film studios removed what had remained the chief difference in favor of live theatrical performance: spoken dialogue. Historian
194:, a typical North American vaudeville performance was made up of a series of separate, unrelated acts grouped together on a common bill. Types of acts have included popular and classical musicians, singers, dancers, comedians,
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Though talk of its resurrection was heard during the 1930s and later, the demise of the supporting apparatus of the circuits and the higher cost of live performance made any large-scale renewal of vaudeville unrealistic.
454:, Pastor barred the sale of liquor in his theatres, eliminated bawdy material from his shows, and offered gifts of coal and hams to attendees. Pastor's experiment proved successful, and other managers soon followed suit.
1148:'s diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the US in vaudeville halls. The first public showing of movies projected on a screen took place at
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stereotypes played by white performers by bringing their own authenticity and style to the stage, composing music, comedy and dance routines and laying the groundwork for distinctly American cultural phenomena like
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regularly toured the country; dime museums appealed to the curious; amusement parks, riverboats, and town halls often featured "cleaner" presentations of variety entertainment; compared to saloons, music halls, and
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In addition to vaudeville's prominence as a form of American entertainment, it reflected the newly evolving urban inner-city culture and interaction of its operators and audience. Making up a large portion of
596:. It incorporated in 1919 and brought together 45 vaudeville theatres in 36 cities throughout the United States and Canada and a large interest in two vaudeville circuits. Another major circuit was that of
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theatre architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are the theatres built by impresario
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in 1913 and operated by Keith. Featuring a bill stocked with inventive novelty acts, national celebrities, and acknowledged masters of vaudeville performance (such as comedian and trick roper
1244:, used vaudeville only as a launching pad for later careers. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues.
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were well-publicized, while other groups were simply described as "all-girl Revue". According to Feminist Theory, similar trends in theater and film objectified women, an example of
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The line between live and filmed performances was blurred by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business. For example,
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quickly realized the importance of motion pictures as a form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into a partnership with the
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At its height, vaudeville played across multiple strata of economic class and auditorium size. On the vaudeville circuit, it was said that if an act would succeed in
600:. In his heyday, Pantages owned more than 30 vaudeville theatres and controlled, through management contracts, perhaps 60 more in both the United States and Canada.
1376:. The structure of a single host introducing a series of acts became a popular television style and can be seen consistently in the development of television, from
450:. He only began to use the term "vaudeville" in place of "variety" in early 1876. Hoping to draw a potential audience from female and family-based shopping traffic
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and swiftly turned it into a chain of full-time movie theatres. The half-century tradition of vaudeville was effectively wiped out within less than four years.
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in the 1920s, and ended up with mainstream success in the 20th century. Other 20th century women performers who started in Vaudeville included blues singers
404:, another type of variety performance, and "the first emanation of a pervasive and purely American mass culture", grew to enormous popularity and formed what
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created and managed their own touring companies; others took on theater ownership and management and created Black vaudeville circuits, as was the case for
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were popular acts. Other women worked the business side of Vaudeville, like Amanda Thorpe, a white woman who founded a black theater in Virginia, and the
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The continued growth of the lower-priced cinema in the early 1910s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast
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With its first subtle appearances within the early 1860s, vaudeville was not initially a common form of entertainment. The form gradually evolved from the
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called "the heart of 19th-century show business". A significant influence also came from "Dutch" (i.e., German or faux-German) minstrels and comedians.
1470:, with additional personal papers of vaudevillian performers from the Tivoli Theatre, including extensive costume and set design holdings, held by the
2814:... it is in the form of the variety show itself, network radio's offspring, that we can see the influence of vaudeville on radio most clearly. From
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A promotional poster for the Sandow Trocadero Vaudevilles (1894), showing dancers, clowns, trapeze artists, costumed dog, singers and costumed actors
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Some of the most prominent vaudevillians successfully made the transition to cinema, though others were not as successful. Some performers such as
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509:"European equestrienne. This is her second week. On account of the very pretty picture that she makes she goes as strong as she did last week."
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Scott, Michelle R. (2016). "These Ladies Do Business with a Capital B: The Griffin Sisters As Black Businesswomen in Early Vaudeville".
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Black performers and patrons participated in a racially segregated vaudeville circuit. Though many popular acts like Lewis and Walker,
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The American Vaudeville Museum, one of the largest collections of vaudeville memorabilia, is located at the University of Arizona.
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depiction alluded to their newly arrived status as immigrant Americans, with the stereotype portrayed in avenues of entertainment.
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includes a large collection of managers' report books recording and commenting on the lineup and quality of the acts each night.
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even saw this scandalous material as a marketing strategy to attract many different audiences. As stated in Andrew Erdman's book
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and variety hall into its mature form throughout the 1870s and 1880s. This more gentle form was known as "Polite Vaudeville".
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Another famous comedienne, one who brought in thousands of audience members with her signature improvisational skills, was
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on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy.
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on television and in movies, remarkably in the recent, worldwide phenomenon of TV shows such as America's Got Talent.
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In the 1920s, announcements seeking all-girl bands for vaudeville performances appeared in industry publications like
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527:"Monologist and vocalist. He goes like a cyclone. It is a case of continuous laughter from his entrance to his exit."
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called its "sissy and Frenchified" successor. Thus, vaudeville was marketed as "variety" well into the 20th century.
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in 1896. Lured by greater salaries and less arduous working conditions, many performers and personalities, such as
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fashioned careers out of combining live performance with radio and film roles. Many others later appeared in the
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remaining performances or were canceled altogether. In spite of such threats, performers routinely flouted this
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Marie Dressler : a biography: with a listing of major stage performances, a filmography, and a discography
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was on the Vaudeville circuit. Vaudeville played in both large and small venues in cities and towns.
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Armond Fields, Tony Pastor, Father of Vaudeville (Jefferson, NC: McFarland & Co., 2007), p. 84.
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The origin of the term is obscure but often explained as being derived from the French expression
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A short documentary on the history of Vaudeville and how it was eventually replaced by the Cinema
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vaudeville aesthetic of variety entertainment, both in Hollywood and in Asia, including China.
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There was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s.
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University of Iowa Libraries Special Collections â Keith/Albee Vaudeville Theater Collection
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University of Washington Libraries Digital Collections â Prior and Norris Troupe Photographs
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University of Arizona Libraries Special Collections â American Vaudeville Museum Collection
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Cullen, Frank; Hackman, Florence; McNeilly, Donald (8 October 2006). "Vaudeville History".
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sensibilities and spending power when he began to feature "polite" variety programs in his
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Mintz, Lawrence E. (1996). "Humor and Ethnic Stereotypes in Vaudeville and Burlesque".
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University of Arizona Libraries The American Vaudeville Museum Archive Digital Exhibit
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In 2018, noted film director Christopher Annino, maker of a new silent feature film,
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to visits by Santa to local, musical talent, to homemade foods such as whoopee pies.
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University of Washington Libraries Digital Collections â J. Willis Sayre Photographs
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Williams, William H. A. (2002). "Green Again: Irish-American Lace-Curtain Satire".
2402:
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in Toronto houses the world's largest collection of vaudeville props and scenery.
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2945:"First International Vaudeville Con Food Drive For Pawcatuck Neighborhood Center"
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November 1932, is often considered to have been the death knell of vaudeville.
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758:
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718:
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372:
226:
3149:
2771:"The Ancient Art of Falling DownVaudeville Cinema between Hollywood and China"
2728:
1371:
858:
Creole Show and ran their own touring company, Lady Africa, in the early 1900s
850:
533:"This act, if it can be so classed, was closed after the evening performance."
222:, and films. A vaudeville performer is often referred to as a "vaudevillian".
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This 1913 how-to booklet for would-be vaudevillians was recently republished.
435:
409:
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246:
230:
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dancing role in a new show at Fred Mannâs Million Dollar Rainbo Room in the
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white-oriented theatres, had their own smaller circuits, as did speakers of
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3240:
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1773:
Vaudeville, Old & New: An Encyclopedia of Variety Performers in America
1365:
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1334:
1273:
1237:
1221:
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1181:
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1024:
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302:, an area known for its bawdy drinking songs and where Basselin lived. The
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1872:) and burlesque elements inherited from the Dutch character shows ...
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2667:. Baltimore, Maryland: Johns Hopkins University Press. pp. 143â145.
2517:
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1388:
in the 1980s. The multi-act format had renewed success in shows such as
740:
birthday in 1916, her parents enrolled her as a ballet student with the
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628:
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207:
187:
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Nickelodeons and Black Vaudeville: The Forgotten Story of Amanda Thorp
3990:
3622:
3285:
2799:
Only Connect: A Cultural History of Broadcasting in the United States
1603:
1467:
1463:
1346:
1153:
920:
903:
809:
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417:
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Ruckus! American Entertainments at the Turn of the Twentieth Century
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776:
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was on June 4, 1928, at Broadwayâs Palace Theater in New York City.
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3776:
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3128:
3115:
Illinois Digital Newspaper Collections: Vaudeville News (1920â1929)
2595:
1623:
1613:
1213:
1161:
996:
413:
2628:
Wittke, Carl (1952). "The Immigrant Theme on the American Stage".
1696:
No Applause-Just Throw Money: The Book That Made Vaudeville Famous
3930:
3714:
3053:
1570:
1132:, as presented in a vaudeville circuit pantomime and sketched by
916:
813:
784:
ran her own Vaudeville touring company, Black Patti's Troubadours
175:
3125:
The American Variety Stage: Vaudeville and Popular Entertainment
3014:"The Keith/Albee Collection: The Vaudeville Industry, 1894â1935"
2987:. 25 February 2009. Archived from the original on 8 August 2008.
493:"Presenting the sketch 'After School.' ... they are a 'knockout.
3858:
3545:
3540:
3535:
3520:
3515:
3270:
3235:
3186:
2117:
Some Liked It Hot: Jazz Women in Film and Television, 1928-1959
1019:
619:(or just "The Palace" in the slang of vaudevillians), built by
564:
and brought vaudeville to the United States and Canada. Later,
557:
439:
388:
1416:-winning actor, are frequently lauded as "New Vaudevillians".
1089:
923:. Notable Black entertainers in Vaudeville included comedians
627:), the Palace provided what many vaudevillians considered the
463:
Performance bill for Temple Theatre, Detroit, 1 December 1902
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3781:
3250:
3225:
2741:
Senelick, Laurence (22 October 2007). Wilmeth, Don B. (ed.).
1608:
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908:
412:
traveled the countryside offering programs of comedy, music,
183:
early 1880s until the early 1930s, while changing over time.
124:
3105:
Beinecke Rare Book and Manuscript Library at Yale University
2749:(Second ed.). Cambridge University Press. p. 480.
481:"Sensational, grotesque and 'buck' dancers. A good act ..."
3255:
1920:"'Will it play in Peoria?' still plays here and nationally"
1255:, a major Hollywood production company and an affiliate of
912:
804:
was a comedienne who got her start in Vaudeville and the
157:
133:
357:
From newspaper promotional for vaudeville character actor
3280:
3155:
2715:
The Irish Way: Becoming American in the Multi-Ethnic City
2700:
The Irish Way: Becoming American in the Multi-Ethnic City
2680:
The Irish Way: Becoming American in the Multi-Ethnic City
2559:
The Irish Way: Becoming American in the Multi-Ethnic City
2541:
The Irish Way: Becoming American in the Multi-Ethnic City
2072:
1428:
854:
Albert and Mamie Anderson performed as a comedy duo with
142:
2475:"African-American Performers on Early. Sound Recordings"
1325:(1881â1971), who in turn regularly worked with muralist
935:, and many others. Black songwriters and composers like
1856:(in German). MĂŒnster: Waxman Verlag GmbH. p. 233.
895:
Later, in the 1920s, many bookings were managed by the
713:
Marie Dressler in "Tillie the Scrub Lady" (SAYRE 23576)
442:
in 1865, later moving his variety theater operation to
438:
theatres. Pastor opened his first "Opera House" on the
218:
or scenes from plays, athletes, lecturing celebrities,
225:
Vaudeville developed from many sources, including the
2957:"First-ever Vaudville Con coming to Pawcatuck Friday"
1769:
329:. Around 1610, Jean le Houx collected these works as
1971:"Will It Play In Peoria? 'Morning Edition' Hopes So"
396:
houses, which catered to those with a taste for the
154:
145:
139:
127:
121:
2449:"African-American Vaudeville: Separate and Unequal"
1003:
and Jennie, the Vanishing Elephant, January 7, 1918
284:argues that the term is a corruption of the French
151:
118:
2742:
2023:
1853:Lied und populÀre Kultur/ Song and Popular Culture
501:(4) Theodor F. Smith and Jenny St. George-Fuller.
4053:
2702:. New York: The Penguin Press. pp. 166â167.
2731:. Musicals101.com, 2004, accessed May 17, 2010
2623:
2621:
1849:
1043:
3171:
2789:
1850:Grosch, Nils; Widmaier, Tobias, eds. (2010).
470:weakest act for the end, to clear the house.
2947:. Broadway World. Retrieved 15 November 2018
2918:
2332:
2257:
902:African-Americans challenged the prevailing
536:
315:
309:
285:
2729:"History of Musical Film, 1927â30: Part II"
2721:
2717:. New York: The Penguin Press. p. 108.
2682:. New York: The Penguin Press. p. 159.
2618:
2543:. New York: The Penguin Press. p. 107.
1551:'s song "How can they tell that I'm Irish?"
531:(9) Burk and Andrus and Their Trained Mule.
515:"Tenor singer. The very best of them all."
3178:
3164:
3129:Rare Book and Special Collections Division
3110:Hear Gary Stephens on Vaudeville, ICA 1988
3054:Modern day vaudeville theatre in Austin TX
2264:The Guinness Encyclopedia of Popular Music
1945:"Letters to the Editor: Playing in Peoria"
1341:Vaudeville's cultural influence and legacy
1092:. Please do not remove this message until
1035:The ethnic caricatures that now comprised
2575:
2442:
2440:
2120:. Wesleyan University Press. p. 32.
1721:
1719:
1717:
1715:
1112:Learn how and when to remove this message
331:Le Livre des Chants nouveaux de Vaudevire
87:Learn how and when to remove this message
3120:Vaudeville Cinema in Hollywood and China
2740:
2630:The Mississippi Valley Historical Review
2495:
2251:
1796:
1776:. London: Routledge. pp. xiâxxxii.
1123:
1088:Relevant discussion may be found on the
1018:
995:
849:
775:
732:Another famous vaudevillian actress was
723:
708:
602:
446:and, finally, to Fourteenth Street near
352:
100:
50:This article includes a list of general
2712:
2697:
2677:
2556:
2538:
2395:The Journal of African American History
2345:The Journal of African American History
2209:10.5406/illinois/9780252040658.001.0001
2145:. Jefferson, N.C.: McFarland & Co.
2140:
2034:
2026:American Vaudeville: Its Life and Times
2021:
1998:"The Phrase That Put Peoria on the Map"
1917:
1824:
1797:Thompson, Robert J. (4 February 2014).
1427:, there was a noted tag team, based in
14:
4054:
3011:
2795:
2627:
2437:
2225:
2088:
2082:
1829:. Boston: Back Bay Books. p. 11.
1759:3 DVD). Ambrose Video Publishing, Inc.
1728:"A History of The Musical: Vaudeville"
1712:
491:(3) Sarah Midgely and Gertie Carlisle.
3159:
2860:"Theater: Bowing Out with a Flourish"
2858:Henry, William A. III (15 May 1989).
2857:
2693:
2691:
2689:
2662:
2581:
2552:
2550:
2392:
2338:
2198:
2113:
2089:Erdman, Andrew L. (20 January 2007).
2061:
1747:
1023:Chinese-American Vaudeville comedian
765:followed by nine months in their own
280:television series, science historian
169:
2796:Hilmes, Michele (12 February 2010).
2311:
2040:
1995:
1693:
1062:
974:
36:
2745:Cambridge Guide to American Theatre
2467:
1725:
1687:
1525:"How can they tell that I'm Irish?"
839:
820:. Women-led touring companies like
24:
3030:Vaudeville and Variety Collections
2900:. Season 32. 15 December 2004. PBS
2686:
2547:
2446:
2231:
2199:Ammen, Sharon (15 December 2016).
1543:recording of vaudeville performer
1513:
1054:List of vaudeville performers: LâZ
1050:List of vaudeville performers: AâK
897:Theatre Owners Booking Association
519:(7) The Nelson Family of Acrobats.
56:it lacks sufficient corresponding
25:
4078:
3023:
2318:. University of Tennessee Press.
1799:"Television in the United States"
1321:. Pantages often used architect
4035:
4026:
4025:
3012:Kibler, M. Alison (April 1992).
2802:. Cengage Learning. p. 97.
2423:10.5323/jafriamerhist.101.4.0469
2407:10.5323/jafriamerhist.101.4.0469
2365:10.5323/jafriamerhist.101.4.0469
2357:10.5323/jafriamerhist.101.4.0469
2203:. University of Illinois Press.
2093:. McFarland & Company, Inc.
1559:Problems playing this file? See
1529:
1486:Elgin and Winter Garden Theatres
1067:
982:immigration to the United States
969:African-American musical theater
556:took the next step, starting in
479:(1) Burt Jordan and Rosa Crouch.
114:
41:
3005:
2973:
2950:
2938:
2912:
2884:
2851:
2844:Late Night with David Letterman
2763:
2734:
2706:
2671:
2656:
2561:. New York: The Penguin Press.
2532:
2489:
2386:
2305:
2285:
2192:
2167:
2134:
2107:
2015:
1989:
1963:
1937:
1918:Luciano, Phil (27 April 2019).
1911:
1902:
1877:
1385:Late Night with David Letterman
1308:
2069:"Vaudeville: About Vaudeville"
1843:
1818:
1790:
1763:
1741:
1694:Trav, S.D. (31 October 2006).
1661:
1654:Merriam-Webster.com Dictionary
1641:
1599:Native Americans in vaudeville
1353:resorts that constituted the "
1313:The most striking examples of
694:and in newspapers. Bands like
568:, adoptive grandfather of the
560:, where he built an empire of
485:(2) The White Tscherkess Trio.
324:song of the Valley of the Vire
13:
1:
2925:Wrestling Observer Newsletter
1635:
1586:Concert party (entertainment)
1404:. Today, performers such as
457:
362:
340:
208:female and male impersonators
2970:. Retrieved 15 November 2018
2919:White, James (7 June 2014).
2179:vaudeville.sites.arizona.edu
1885:"vaudeville | entertainment"
1150:Koster and Bial's Music Hall
1027:, dressed in a Scottish kilt
780:World renowned opera singer
314:origin, a truncated form of
252:
7:
3103:From the collection of the
2339:Scott, Michelle R. (2016).
1506:
1449:
1094:conditions to do so are met
1044:Selected vaudeville artists
717:Leila Marie Koerber, later
503:"Refined instrumentalists."
32:Vaudeville (disambiguation)
10:
4083:
3185:
3041:Performing Arts Collection
2921:"WWE NXT report 6-6 Tampa"
2892:"Bill Irwin: Clown Prince"
2312:Wong, Kathi Clark (2023).
2114:McGee, Kristin A. (2009).
1669:"Forms of Variety Theater"
1549:Clarence Wainwright Murphy
1472:Performing Arts Collection
1278:Orpheum vaudeville circuit
1058:
1047:
843:
344:
186:In some ways analogous to
29:
4021:
3886:
3794:
3700:
3565:
3483:
3447:
3440:
3431:
3334:
3303:
3294:
3193:
3127:digitized items from the
3059:Vaudeville Ventriloquists
2997:: CS1 maint: unfit URL (
2141:Kennedy, Matthew (1999).
2022:Gilbert, Douglas (1940).
1977:. NPR's "Morning Edition"
1499:Collection housed at the
1460:State Library of Victoria
1178:Bill "Bojangles" Robinson
822:Black Patti's Troubadours
636:, the famous and magical
305:Oxford English Dictionary
3050:, Arts Centre Melbourne.
3016:. From Books at Iowa 56.
1827:Where Dead Voices Gather
742:Pavley-Oukrainsky Ballet
681:
378:In the years before the
274:, "Vau de Vire". In his
3475:Theatre of ancient Rome
3046:3 November 2012 at the
2962:28 October 2018 at the
2713:Barrett, James (2012).
2698:Barrett, James (2012).
2678:Barrett, James (2012).
2557:Barrett, James (2012).
2539:Barrett, James (2012).
2455:. University of Arizona
1996:Groh, Amy (June 2009).
1889:Encyclopedia Britannica
1804:EncyclopĂŠdia Britannica
1493:Benjamin Franklin Keith
1138:St. Louis Post-Dispatch
931:, dancer/choreographer
71:more precise citations.
2663:Bayor, Ronald (1996).
2293:The Story of the Blues
2238:Jewish Women's Archive
1825:Tosches, Nick (2002).
1518:
1444:Pawcatuck, Connecticut
1425:professional wrestling
1282:
1141:
1130:Lucy, Lady Duff-Gordon
1028:
1004:
859:
785:
729:
714:
608:
541:
368:
348:Comédie en vaudevilles
317:chanson du Vau de Vire
316:
310:
286:
106:
3682:Theatre of the Absurd
2832:The Smothers Brothers
2510:10.1353/nhr.2002.0023
2477:. Library of Congress
1698:. Faber & Faber.
1629:Vaudeville Bellydance
1517:
1476:Arts Centre Melbourne
1379:The Milton Berle Show
1269:
1127:
1022:
999:
853:
779:
728:Trixie Friganza Hayes
727:
712:
700:The Dixie Sweethearts
606:
540:
356:
249:for several decades.
180:variety entertainment
104:
3657:Shakespearean comedy
3455:Ancient Greek comedy
3150:Vaudeville to Cinema
3035:7 March 2017 at the
2828:The Ed Sullivan Show
2826:to TV programs like
2816:The Rudy Vallee Show
2775:MCLC Resource Center
2045:The New York Tribune
1751:(2 September 2003).
1401:The Ed Sullivan Show
1276:took over the famed
1253:Famous PlayersâLasky
572:-winning playwright
545:Kirksville, Missouri
423:From the mid-1860s,
400:. In the 1840s, the
210:, acrobats, clowns,
30:For other uses, see
3143:9 July 2022 at the
3133:Library of Congress
3069:2 July 2014 at the
2836:Saturday Night Live
2498:New Hibernia Review
2453:American Vaudeville
2269:Guinness Publishing
2030:. Whittlesey House.
1753:An Invisible Object
1673:Library of Congress
1454:The records of the
1327:Anthony Heinsbergen
1202:Abbott and Costello
1081:of this section is
877:The Whitman Sisters
525:(8) James Thornton.
464:
27:Entertainment genre
3645:Comédie larmoyante
3640:Sentimental comedy
3635:Restoration comedy
3598:Commedia dell'arte
3470:Corral de comedias
3064:Virtual Vaudeville
2897:Great Performances
2665:The New York Irish
2267:(First ed.).
1949:The New York Times
1657:. Merriam-Webster.
1519:
1501:University of Iowa
1458:are housed at the
1391:Your Show of Shows
1319:Alexander Pantages
1298:Joseph Kennedy Sr.
1257:Paramount Pictures
1249:Alexander Pantages
1142:
1029:
1005:
933:Ada Overton Walker
860:
786:
744:School within the
730:
715:
609:
598:Alexander Pantages
542:
462:
380:American Civil War
369:
308:also endorses the
243:American burlesque
107:
4049:
4048:
3827:Musical comedians
3790:
3789:
3588:Comedy of manners
3583:Comedy of humours
3573:Boulevard theatre
3561:
3560:
3465:Comédie-Italienne
3460:Comédie-Française
3427:
3426:
2809:978-0-495-57051-6
2756:978-0-521-83538-1
2568:978-0-14-312280-7
2325:978-1-62190-802-9
2218:978-0-252-04065-8
2127:978-0-8195-6967-7
2100:978-0-7864-3115-1
2078:. 8 October 1999.
1951:. 3 November 1985
1863:978-3-8309-2395-4
1783:978-0-415-93853-2
1705:978-0-86547-958-6
1592:For Me and My Gal
1534:
1433:The Vaudevillains
1323:B. Marcus Priteca
1272:The newly-formed
1242:The Three Stooges
1134:Marguerite Martyn
1122:
1121:
1114:
975:Immigrant America
889:Sherman H. Dudley
782:Sissieretta Jones
640:, and child star
551:
550:
507:(5) Milly Capell.
297:Vire River Valley
265:voice of the city
212:illustrated songs
192:Victorian Britain
97:
96:
89:
16:(Redirected from
4074:
4039:
4029:
4028:
3976:Self-referential
3593:Comedy of menace
3445:
3444:
3438:
3437:
3301:
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3166:
3157:
3156:
3018:
3017:
3009:
3003:
3002:
2996:
2988:
2977:
2971:
2968:The Westerly Sun
2954:
2948:
2942:
2936:
2935:
2933:
2931:
2916:
2910:
2909:
2907:
2905:
2888:
2882:
2881:
2879:
2877:
2872:on 12 March 2007
2868:. Archived from
2855:
2849:
2848:
2793:
2787:
2786:
2784:
2782:
2777:. 29 August 2017
2767:
2761:
2760:
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2704:
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2684:
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2545:
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2536:
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2486:
2484:
2482:
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2384:
2383:
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2329:
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2283:
2282:
2271:. p. 1543.
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2079:
2076:American Masters
2065:
2059:
2058:
2056:
2054:
2049:. Oldnewsads.com
2038:
2032:
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2019:
2013:
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1987:
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1982:
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1547:'s rendition of
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1410:MacArthur Fellow
1287:Great Depression
1117:
1110:
1106:
1103:
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1070:
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949:Rosamond Johnson
846:Black Vaudeville
840:Black vaudeville
806:Chitlin circuits
652:
647:New-York Tribune
613:Peoria, Illinois
496:
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367:
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359:Charles Grapewin
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3864:Animated sitcom
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3672:Stand-up comedy
3618:One-person show
3608:Improvisational
3557:
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3377:Science fiction
3330:
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3211:Comedy festival
3189:
3184:
3145:Wayback Machine
3071:Wayback Machine
3048:Wayback Machine
3037:Wayback Machine
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2840:In Living Color
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2727:Kenrick, John.
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2091:Blue Vaudeville
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2002:Peoria Magazine
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1545:Edward M. Favor
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1497:Edward F. Albee
1452:
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1230:Sammy Davis Jr.
1190:Burns and Allen
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1048:Main articles:
1046:
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961:Gussie L. Davis
893:Griffin Sisters
848:
842:
834:Griffin Sisters
826:Whitman Sisters
763:Mirage de Paris
684:
676:Blue Vaudeville
650:
642:Baby Rose Marie
594:Orpheum Circuit
543:"The Opera" in
513:(6) R. J. Jose.
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63:Please help to
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3732:Comédie-ballet
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3677:Street theatre
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2261:, ed. (1992).
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2232:Borden, Anne.
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1541:Edison Records
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1456:Tivoli Theatre
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1289:to economize.
1120:
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1037:American humor
976:
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953:George Johnson
844:Main article:
841:
838:
771:Ballet Caprice
767:Ballet Caprice
759:Frank Westphal
757:, directed by
751:Rainbo Gardens
734:Trixi Friganza
719:Marie Dressler
683:
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617:Palace Theatre
570:Pulitzer Prize
549:
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2301:0-14-003509-5
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2291:Paul Oliver,
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2047:: Vaudeville"
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1366:variety shows
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1335:contra-dances
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1174:Jimmy Durante
1171:
1170:Marx Brothers
1167:
1166:Buster Keaton
1163:
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1155:
1151:
1147:
1140:in April 1918
1139:
1135:
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3578:Comedy-drama
3357:Mockumentary
3241:Impersonator
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1649:"vaudeville"
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1222:Judy Garland
1218:Milton Berle
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1182:Edgar Bergen
1158:W. C. Fields
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945:Irving Jones
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864:Ernest Hogan
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3937:Documentary
3933:(dry humor)
3896:Alternative
3874:Teen sitcom
3767:Opera buffa
3742:Light music
3737:Comedy club
3687:Tragicomedy
3652:Shadow play
2930:15 November
2824:Bing Crosby
2781:14 December
2504:(2): 9â24.
1757:Connections
1382:in 1948 to
1372:Rudy Vallée
1274:RKO studios
1234:Red Skelton
1186:Fanny Brice
965:Chris Smith
802:Moms Mabley
668:New England
634:Eubie Blake
625:Will Rogers
621:Martin Beck
566:E. F. Albee
554:B. F. Keith
428:Tony Pastor
384:Shakespeare
366: 1900
335:Tony Pastor
311:vau de vire
282:James Burke
277:Connections
235:freak shows
69:introducing
4062:Vaudeville
4056:Categories
3844:Television
3747:Music hall
3692:Vaudeville
3613:Macchietta
3603:Double act
3512:Indonesia
3506:Mo lei tau
3502:Hong Kong
3496:Xiangsheng
3367:Remarriage
3276:Visual gag
3266:Punch line
3261:Prank call
2820:Jack Benny
2481:30 January
2459:29 January
2378:27 January
2243:1 February
2053:17 January
2041:Webwerks.
1810:26 October
1733:26 October
1636:References
1581:Chautauqua
1561:media help
1414:Tony Award
1406:Bill Irwin
1396:Sid Caesar
1315:Gilded Age
1226:Rose Marie
1210:Cary Grant
1206:Kate Smith
1198:Jack Benny
1146:television
1128:Styles of
1079:neutrality
1014:minstrelsy
885:John Isham
870:, and the
629:apotheosis
582:censorship
458:Popularity
425:impresario
345:See also:
341:Beginnings
231:minstrelsy
188:music hall
176:theatrical
110:Vaudeville
52:references
3991:Slapstick
3916:Christian
3911:Character
3888:Subgenres
3703:and dance
3623:Pantomime
3409:Slapstick
3382:Screwball
3286:Word play
2993:cite news
2604:0163-755X
2526:144375830
2431:151662539
2415:1548-1867
2373:151662539
2201:May Irwin
2007:4 January
1981:4 January
1955:4 January
1929:4 January
1894:11 August
1604:Nightclub
1468:Australia
1464:Melbourne
1431:, called
1347:Bert Lahr
1154:Al Jolson
1090:talk page
987:greenhorn
921:tap dance
904:Blackface
810:Ma Rainey
790:May Irwin
704:male gaze
688:Billboard
654:company.
644:. In the
418:Wild West
394:burlesque
253:Etymology
220:minstrels
204:strongmen
178:genre of
4031:Category
3966:Physical
3777:Operetta
3551:Sarugaku
3419:Thriller
3311:American
3231:Humorist
3201:Comedian
3141:Archived
3067:Archived
3044:Archived
3033:Archived
2960:Archived
2818:through
2518:20557792
2295:, 1972,
2184:29 April
2161:39765147
1679:27 April
1624:Tom show
1614:Tab show
1507:See also
1450:Archives
1368:such as
1351:Catskill
1214:Bob Hope
1162:Mae West
1083:disputed
937:Bob Cole
891:and the
828:and the
562:theatres
444:Broadway
414:jugglers
389:circuses
4003:Surreal
3931:Deadpan
3817:Hip hop
3715:Cabaret
3441:Country
3433:Theatre
3397:Mexican
3392:Italian
3372:Romance
3347:Fantasy
3326:Italian
3316:British
3304:Country
3131:of the
2985:UA News
2650:1892181
1975:npr.org
1571:Cabaret
1267:wrote:
1136:of the
1059:Decline
917:ragtime
814:Ida Cox
692:Variety
664:Yiddish
660:Italian
287:Vau de
174:) is a
167:French:
65:improve
4041:Portal
4013:Zombie
3996:Topics
3956:Insult
3951:Horror
3926:Cringe
3859:Sitcom
3822:Parody
3546:Rakugo
3541:Owarai
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3531:KyĆgen
3527:Japan
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3516:Lenong
3448:Europe
3414:Stoner
3404:Silent
3362:Parody
3352:Horror
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3321:French
3271:Satire
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3187:Comedy
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1168:, the
963:, and
927:, and
824:, the
558:Boston
452:uptown
440:Bowery
398:risqué
54:, but
3981:Shock
3921:Clown
3901:Black
3854:Roast
3839:Radio
3834:Novel
3807:Album
3802:Music
3795:Media
3782:Revue
3701:Music
3566:Genre
3491:China
3335:Genre
3251:Irony
3226:Farce
2646:JSTOR
2608:JSTOR
2584:MELUS
2522:S2CID
2514:JSTOR
2427:S2CID
2419:JSTOR
2369:S2CID
2361:JSTOR
1609:Revue
1539:1910
1394:with
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682:Women
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190:from
3986:Sick
3971:Prop
3942:High
3906:Blue
3812:Rock
3667:Spex
3484:Asia
3296:Film
3256:Joke
2999:link
2932:2018
2906:2010
2878:2010
2865:TIME
2822:and
2804:ISBN
2783:2017
2751:ISBN
2600:ISSN
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2186:2022
2157:OCLC
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