This dissertation explores the development of commercial entertainments and film exhibition in the urban South around the turn of the last century through the growth and decline of Jake Wells Enterprises. A former professional baseball player, Wells invested in a wide variety of public amusements, with the core of his early business centered on establishing and organizing a string of vaudeville, popularly priced, and legitimate theaters throughout the largest cities in the region, a network he later transitioned to showing exclusively motion pictures. A thorough analysis of period newspapers, trade journals, and some business records covering Wells’ career provides much-needed evidence for film and cultural historians wishing to understand the genesis and evolution of public amusements in the region, and its negotiation of traditional social and cultural institutions. In the 1890s, Wells played and managed several professional baseball teams in the South. The sport educated players and spectators alike to both the values and creed of New South progress, and to rising tensions confronting the intersection of modern and traditional forms of culture. Using his experiences and contacts gained in baseball, Wells helped foster a culture of entrepreneurship and innovation required for the progress of media industries in the region, establishing social networks of knowledge and improving distribution flows of entertainment. The dissertation explores how race and the genteel emerged as regional characteristics most influential to the success of this conversion in many urban areas. Protestants and evangelical culture served as the bulkhead supporting opposition to new amusements. Wells’ expansion plans and violations of Sabbath day laws evoked a “spatial” battle between commercialism and religion where political, social, and cultural power drawn from place and identity were challenged and reconfigured. Another chapter explores the exhibition and reception of early Civil War films in the region. Wells and other exhibitors were influential in their production and circulation nationwide, and positioned cinema as an alternative shrine to commemorate the Lost Cause in many communities. The last chapter shows how Wells failed to meet local demands and consumer desires in competition with the rise of national chain theaters and Hollywood’s vertical integration.

Thesis (Ph. D.)--Florida State University, 2006. / Advisor: William "Rip" Lhamon, Jr., Florida State University, College of Arts and Sciences, Interdisciplinary Program in the Humanities. Title and description from dissertation home page (viewed June 14, 2006). Document formatted into pages; contains iv, 143 pages. Includes bibliographical references.

Submitted by LÍLIAN RÚBIA DA COSTA ROCHA null (lilianrubia@gmail.com) on 2017-10-18T23:07:00Z No. of bitstreams: 1 O TEATRO DE VARIEDADES E AS DIVERSÕES SANTISTAS DO FINAL DO SÉCULO XIX E INÍCIO DO XX.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) / Approved for entry into archive by Luiz Galeffi (luizgaleffi@gmail.com) on 2017-10-23T18:21:37Z (GMT) No. of bitstreams: 1 rocha_lrc_me_ia.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) / Made available in DSpace on 2017-10-23T18:21:37Z (GMT). No. of bitstreams: 1 rocha_lrc_me_ia.pdf: 4007798 bytes, checksum: a195097fb1fc9783316ad9b16242b356 (MD5) Previous issue date: 2017-08-11 / Busquei com este trabalho refletir sobre as diversões populares do final do século XIX e início do XX. Com o surgimento da cidade moderna, as atrações públicas compostas por diversas expressões artísticas que, em sua maioria, ocorriam nas vias das cidades foram incorporadas pelas casas de espetáculos. Assim como outros estabelecimentos, o teatro de variedades se consagrou como um desses espaços, reunindo diversos elementos culturais que formaram o circuito de entretenimento da época. A cidade de Santos forneceu à pesquisa um rico panorama artístico, onde observei a difusão da teatralidade popular. Os espetáculos do teatro de variedades tiveram influências de gêneros e linguagens distintas; Entre elas: circo, teatro de revista, zarzuela, etc. Essa relação possibilitou um ambiente propício à interlocução e trocas artísticas, transformando-se em uma referência importante para a formação das cenas teatrais no Brasil. Reuni neste trabalho diversos aspectos do teatro de variedades, no intuito de compreender os inúmeros elementos que compõem o gênero. / I sought with this work to reflect on the popular amusements of the late nineteenth and early twentieth centuries. With the emergence of the modern city, the public attractions composed of diverse artistic expressions that, in the majority, occurred in the ways of the cities were incorporated by the houses of spectacles. Like other establishments, the vaudeville was consecrated as one of these spaces, bringing together diverse cultural elements that formed the circuit of entertainment of the time. The city of Santos provided the research with a rich artistic panorama, where I observed the diffusion of popular theatricality. The vaudeville shows had influences of different genres and languages; Among them: circus, theater of magazine, zarzuela, etc. This relationship allowed an environment conducive to dialogue and artistic exchanges, becoming an important reference for the formation of theatrical scenes in Brazil. I gathered in this work several aspects of the vaudeville, in order to understand the numerous elements that make up the genre.

No description available.

Dans les années 1840, deux troupes françaises sont arrivées à Rio de Janeiro, elles se sont installées dans les théâtres de la Cour où elles ont présenté des genres théâtrales spécifique, des vaudevilles et des opéra-comiques. C’est précisément de la Compagnie Dramatique Française et de la Compagnie Lyrique Française que cette thèse s’attachera. Bien qu’il y a un vrai silence à propos de la histoire de ces deux troupes, l’impacte que leurs actions ont suscité dans les pratiques théâtrales de la Cour du Brésil est fondamental dans le développement de plusieurs axes liés à cet art, par exemple la critique d’art, les régiments de fonctionnement des salles de spectacle, le discours qui cherchait l’organisation d’un théâtre national, la censure, le confrontation avec les significations de « civilisé » e des valeurs français. Ainsi, la compréhension des mécanismes d’action de ces artistes français à Rio de Janeiro et les relations qu’ils ont établie entre les différentes entités liées à l’art, permet comprendre les processus de formation cultural de la Cour et des dialogues établies avec l’art français, qui implique bien l’éloignement que la reconnaissance. / In the 1840s, the French theater companies Compagnie Française Dramatique, and Compagnie Française Lyrique arrived in Rio de Janeiro. They settled in the Brazilian court with a specific repertoire composed mostly by vaudeville and opéra-comiques, and even though little was known about the story of these two group, their actions impacted theatrical practices of the court. This thesis addresses the story of these French companies. They were fundamental in the development of multiple axes, and remarkably connected with regiments of spectacle rooms, artistic criticism, censorship, to structure a national theater and confronted with the meanings of "civilized" and French values. One can therefore understand the cultural dialogues established with French art by the mechanisms of action of these artists in Rio de Janeiro, and the relationships established among the different entities related to the Art.

Sendo o curta com uma das gags impossíveis mais famosas de Buster Keaton, The Playhouse (1921) trabalha com a relação existente entre o mundo onírico e a realidade, iniciando com um sonho da personagem de Keaton em que ele interpreta todos os papéis de um espetáculo, de atores e membros da orquestra aos espectadores da apresentação. Em seguida, acompanhamos Keaton em seu dia de trabalho após ser despertado pelo chefe, e vemos que diversos elementos de seu sonho ainda estão presentes na realidade desse faz-tudo do teatro. Lançado no segundo ano de trabalho de Keaton como diretor de suas próprias obras, o curta coloca como tema central a questão do trabalho no teatro e no cinema, apresentando diferentes possibilidades e experimentações no campo social e cinematográfico. Deste modo, esta dissertação propõe uma análise acerca da construção dessa temática no curta, refletindo sobre os escritos de Walter Benjamin e Michael Löwy sobre a relação entre o cinema, a comédia muda norte-americana em especial o trabalho de Keaton e uma crítica feita à sociedade capitalista industrial; e a teoria de Bertolt Brecht sobre o teatro épico. / As the short movie that holds one of the most famous impossible gags made by Buster Keaton, The Playhouse (1921) works with the relation between the oneiric world and reality, beginning with a sequence dreamed by Keaton\'s character in which he plays all the roles in the spectacle, from actors and musicians in an orchestra to the spectators of the show. After this dream, we follow Keaton during his day at work since the moment he was woken up by his boss and we notice that various elements of his dream are still present in the reality of this handyman from the theater. Released in the second year of Keaton\'s work as a director of his own films, this short movie presents as its main theme the working world in the theater and the cinema, putting forward different possibilities and experimentations in the social and cinematographic fields. Therefore, the following master\'s dissertation brings an analysis of the way this theme is presented in the short movie, considering the writings of Walter Benjamin and Michael Löwy about the relation between cinema, American silent comedy - especially Buster Keaton\'s work - and the criticism of capitalistic industrial society; and Bertolt Brecht\'s theory about epic theater.

Thesis (Ph. D.)--Ohio State University, 2005. / Title from first page of PDF file. Document formatted into pages; contains x, 223 p.; also includes graphics. Includes bibliographical references (p. 207-223). Available online via OhioLINK's ETD Center

Thesis (Ph. D.)--University of Texas at Austin, 2004. / Supervisor: Stacy Wolf. Vita. Includes bibliographical references.

The purpose of this investigation is to examine Reichardt's reasons for his development of the genre Liederspiel. A brief biographical sketch of Reichardt reveals an innovative character who was responsible for several developments within the history of music. The Liederspiel was particularly affected by the French vaudeville. However, an investigation into the character of each shows that they are really quite different. A translation of an article by Reichardt from the Allgemeine Musikalische Zeitun discloses the purpose of the composer in his presentation of the Liederspiel to the public. The first Liederspiel was Liebe und Treue and was a complete success. The libretto and piano vocal score shows the construction of liebe und Treueand an English translation aids in its understanding.

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Gradução em Engenharia de Produção. / Made available in DSpace on 2012-10-19T19:47:47Z (GMT). No. of bitstreams: 0Bitstream added on 2014-09-26T02:55:22Z : No. of bitstreams: 1 185682.pdf: 8139981 bytes, checksum: 8d41ddae22928f134ceca1a533162fe3 (MD5) / O presente estudo foi realizado com o objetivo de estudar os efeitos auditivos e extra-auditivos da música eletronicamente amplificada em trabalhadores de danceteria. Foram avaliados 34 sujeitos, sendo um grupo de trabalhadores de danceteria e um grupo controle de trabalhadores de um escritório. Foi realizada anamnese, audiometria tonal liminar e medição acústica dos ambientes. Obteve-se como resultado do estudo dos efeitos auditivos, uma maior ocorrência das queixas de zumbido, dor de cabeça e irritabilidade no grupo de indivíduos trabalhadores de danceteria, fato que não ocorreu no grupo de trabalhadores do escritório que não trabalham com ruído em altos níveis de pressão sonora. Os resultados das audiometrias realizadas no grupo de trabalhadores de danceteria revelou que 88,2% dos indivíduos apresentaram limiares auditivos dentro dos padrões de normalidade bilateralmente, porém 82,3% das audiometrias deste grupo houve a presença do entalhe audiométrico, podendo indicar uma tendência a desencadear a perda auditiva induzida pelo ruído ao longo do tempo. O grupo de trabalhadores do escritório não apresentou alteração nas audiometrias realizadas, denotando limiares melhores de 15 dBNA. Para estudar os efeitos extra auditivos foi realizada a medição do nível de pressão sonora da danceteria e do escritório. Os níveis de pressão sonora na danceteria apresentaram-se todos acima do limite máximo recomendado na NR-15 (Portaria 3.214/78) do Ministério do Trabalho; observou-se com isto que os trabalhadores da danceteria necessitam fazer uso do grito para se comunicarem. No escritório foram encontrados limites inferiores ao recomendado para trabalho rotineiro de escritório. Os resultados indicaram que os trabalhadores expostos a música eletronicamente amplificada podem adquirir alterações auditivas e extra-auditivas, interferindo na comunicação, no trabalho e na vida social.