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Introduction To Vaudeville: The typical vaudeville show line-up By the turn of the century, there was a standardized lineup of acts on the vaudeville stage. The bill was divided into two parts with an intermission in the middle. The show would open with a "dumb act," usually an animal or acrobatic act. "Dumb" did not refer to the quality of the act, but rather to the fact that they did not rely on sound, and thus were appropriate to use as opening and closing acts when patrons were noisily entering and leaving. Dumb acts were rarely given prime positions on the bill. "The second act could be almost anything at all, as long as it provided more entertainment than the first act" (Di- Meglio 1973, 35). The third act "was intended to wake up the house, the number four to deliver the first solid punch, and the last before the interval a knockout that would bring them back wanting more" (Banham 1995, 1161- 1162). This fifth act usually had to feature a big name. After the intermission, the sixth act had to sustain the impact of the previous acts yet not supersede in popularity the ones that would follow. The main attraction or star would appear as the next to closing act. The concluding act was often called a chaser since it was meant to play as people would be exiting the theater early. Often a chaser was a motion picture. Some historians have indicated that the use of the motion picture as a chaser indicated its low position in the vaudeville theater, but it is also possible that it was used for closing merely because it, too, was a "dumb act" that need not rely on sound. The chaser, while allowing theater-goers to exit noisily if necessary, also had to be entertaining enough to keep the remaining audience members happy with the entire bill. The entire bill typically included eight to ten acts with some theaters using more or less. Motion pictures as vaudeville acts The novelty of a moving image being projected on a screen was first viewed by American in 1895. Vaudeville theaters were among the first venues for these early motion Edison/Armat Vitascope, Latham Eidoloscope, Lumiere Cinematographe, and Biograph "were all demonstrated in American vaudeville theatres" (Allen 1980, 4-5). There was a vast network of vaudeville theaters around the country and, therefore, motion pictures were seen by large numbers of people soon after their inception. Vaudeville theaters remained the primary setting for the exhibition of motion pictures for the next ten years. Theater patrons of the late nineteenth century were accustomed to many types of visual novelty acts on the vaudeville stage. These acts included magic lantern presentations, living pictures, pantomime, shadowgraphy, puppetry, and melodrama (Allen 1980, 311); The motion picture was simply the latest visual novelty to be shown on the stage. Possibly the earliest exhibition of a motion picture projector may have been that of the Lumiere Cinematographe in France, March 1895. In the United States, the first exhibition of a motion picture projector in a theater may have been the Latham Eidelscope in 1895. This machine was supposedly featured on Broadway in May 1895, and later moved to Hammerstein's Olympia vaudeville theater. The Latham Eidelscope subsequently appeared at Chicago's Olympia Theatre. The Eidelscope had technical limitations that made the projected image indistinct and therefore did not attract large audiences.
Meyerhold was one of the foremost Russian directors of the stage and was considered by many to be the equal of Stanislavski. With a critical commentary by the editor these writings are essential reading for anyone studying Russian drama and culture.
Brazilian Bodies, and their Choreographies of Identification retraces the presence of a particular way of swaying the body that, in Brazil, is commonly known as ginga . Cristina Rosa its presence across distinct and specific realms: samba-de-roda (samba-in-a-circle) dances, capoeira angola games, and the repertoire of Grupo Corpo.
From T.J. Clark comes this provocative study of the origins of modern art in the painting of Parisian life by Edouard Manet and his followers. The Paris of the 1860s and 1870s was a brand-new city, recently adorned with boulevards, cafés, parks, Great Exhibitions, and suburban pleasure grounds—the birthplace of the habits of commerce and leisure that we ourselves know as "modern life." A new kind of culture quickly developed in this remade metropolis, sights and spectacles avidly appropriated by a new kind of "consumer": clerks and shopgirls, neither working class nor bourgeois, inventing their own social position in a system profoundly altered by their very existence. Emancipated and rootless, these men and women flocked to the bars and nightclubs of Paris, went boating on the Seine at Argenteuil, strolled the island of La Grande-Jatte—enacting a charade of community that was to be captured and scrutinized by Manet, Degas, and Seurat. It is Clark's cogently argued (and profusely illustrated) thesis that modern art emerged from these painters' attempts to represent this new city and its inhabitants. Concentrating on three of Manet's greatest works and Seurat's masterpiece, Clark traces the appearance and development of the artists' favorite themes and subjects, and the technical innovations that they employed to depict a way of life which, under its liberated, pleasure-seeking surface, was often awkward and anxious. Through their paintings, Manet and the Impressionists ask us, and force us to ask ourselves: Is the freedom offered by modernity a myth? Is modern life heroic or monotonous, glittering or tawdry, spectacular or dull? The Painting of Modern Life illuminates for us the ways, both forceful and subtle, in which Manet and his followers raised these questions and doubts, which are as valid for our time as for the age they portrayed.
An “absorbing” biography of the playwright and Nobel laureate that “unflinchingly explores the darkness that dominated O’Neill’s life” (Publishers Weekly). This extraordinary biography fully captures the intimacies of Eugene O’Neill’s tumultuous life and the profound impact of his work on American drama, innovatively highlighting how the stories he told for the stage interweave with his actual life stories as well as the culture and history of his time. Much is new in this extensively researched book: connections between O’Neill’s plays and his political and philosophical worldview; insights into his Irish American upbringing and lifelong torment over losing faith in God; his vital role in African American cultural history; unpublished photographs, including a unique offstage picture of him with his lover Louise Bryant; new evidence of O’Neill’s desire to become a novelist and what this reveals about his unique dramatic voice; and a startling revelation about the release of Long Day’s Journey Into Night in defiance of his explicit instructions. This biography is also the first to discuss O’Neill’s lost play Exorcism (a single copy of which was only recently recovered), a dramatization of his own suicide attempt. Written with both a lively informality and a scholar’s strict accuracy, Eugene O’Neill: A Life in Four Acts is a biography worthy of America’s foremost playwright. “Fast-paced, highly readable . . . building to a devastating last act.” —Irish Times
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