Los estudios tradicionales sobre la música en el cine no han abordado de una forma exhaustiva la decisiva aportación de las músicas populares en la conformación de la música cinematográfica. El planteamiento de estos textos ha estado, en gran medida, condicionado por una visión cultural eurocentrista que intentaba vincular la música sinfónica del cine clásico norteamericano (un cine que aspiraba a una narración realista y a una consideración artística) con la tradición musical culta europea, sin valorar adecuadamente la importancia de otras manifestaciones musicales norteamericanas de raíz popular, más fantasiosas y más imprevisibles a nivel narrativo. En este sentido, la trayectoria profesional de los hermanos Marx se revela como un medio óptimo para estudiar estas influencias musicales. Así, antes de su debut cinematográfico con The Cocoanuts (1929), los Marx habían atesorado una experiencia de más de veinte años en los escenarios del vaudeville y de la comedia musical. Sin embargo, las investigaciones realizadas hasta ahora sobre el cine marxiano han priorizado la etapa más exitosa de nuestros protagonistas (a partir de A Night at the Opera, 1935), una etapa censurada por el código Hays y controlada desde la producción de la Metro Goldwyn Mayer, descuidando sus primeros films donde la influencia musical popular vaudevillesque es mucho más notoria. Además, estos estudios sólo han abordado los contenidos musicales de una forma tangencial (a modo de inventario), separándolos de su contexto expresivo, e infravalorándolos artísticamente (desde una perspectiva etnocéntrica) debido a su sentido cómico y popular. Desde esta perspectiva, el propósito de nuestro trabajo ha sido constatar (o refutar) la siguiente hipótesis: los hermanos Marx utilizan las músicas populares en su cine, integrándolas en la representación según los recursos expresivos propios del vaudeville y es necesario conocer estos recursos para comprender la verdadera función expresiva y significación de esas músicas. Para ello, tras una semblanza biográfico-artística (Gehring, Louvish y Marx), hemos realizado una revisión exhaustiva del contenido musical de los espectáculos de vaudeville presentados por los Marx antes de llegar al cine, relacionándolos con la práctica habitual de la época (Snyder y Lott). Igualmente, hemos investigado las temáticas y las músicas (incidiendo en los aspectos sociológicos de una época muy convulsa) propias del cine de la época (Altman), así como del teatro musical de Broadway (Bordman y Jones) en el que también trabajaron los Marx. Por último, hemos realizado un análisis exhaustivo, desde una perspectiva musical (pero también social y cultural), de las siete primeras películas de los hermanos Marx, constatando, así, la importancia de los contenidos musicales populares en la construcción del significado expresivo. Además, hemos advertido la utilización de estas músicas como una reivindicación de las raíces populares de la identidad cultural, frente a la irrupción de la tradición musical europea en el cine clásico norteamericano. / Sanjuan Mínguez, R. (2014). La música en el primer cine de los hermanos Marx [Tesis doctoral no publicada]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/38861 / TESIS

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No Sleep '˜Til Minsky's is a one-man show paying tribute to early 20th century variety entertainment. The writing process began with research into the forms of vaudeville and burlesque, including films of period acts, study of autobiographies and biographies of burlesque performers, and study of historical scripts performed in the time period and stored at the Library of Congress. The format of the show consists of a one-hour core script in which Lou Drake speaks of his life and career in burlesque. In addition to the core script, the structure is designed to allow more actors to participate in staging sketches described by Drake, as well as allowing external acts to splice their material into a performance.

This paper discusses the emergence of vaudeville in California’s Inland Empire region of San Bernardino and Riverside counties. It will consider the social changes underway in late nineteenth-century America and their impact on attitudes towards popular entertainment. This paper will draw on Lawrence Levine’s observations of cultural hierarchies that emerged during the late nineteenth century and shaped American understandings of culture. Entertainment of the nineteenth century will be examined for the ways it was unable to match urban trends, and contrasted with vaudeville’s appeal to a diverse urban populace. The cities of San Bernardino, Redlands and Riverside were home to a number of opera houses and theaters to serve rapidly growing communities, and a review of the performances offered in these communities and at these venues will demonstrate these shifts in popular entertainment.

Στόχος της μετά χείρας εργασίας είναι η παρουσίαση του Μίμου της Χαριτίου (εισαγωγή, κείμενο -κριτικό υπόμνημα, μετάφραση, ερμηνευτικό υπόμνημα) και η εστίαση στα προβλήματα που προκύπτουν από την αποσπασματική φύση του κειμένου (αναδιάρθρωση της πλοκής, χαρακτήρες που διαμορφώνουν την δράση, ειδικός σκηνικός apparatus, σκηνοθετική οργάνωση). Η κύρια εστίαση, ωστόσο, στρέφεται στις λογοτεχνικές αξιώσεις του εν λόγω Μίμου και στις αναλογίες που εμφανίζει με αισθητικά καταξιωμένα λογοτεχνικά είδη. / The aim of this essay is to present the Mime "Charition" (Introduction,text-apparatus criticus, translation, commentary) and focus on the problems that occupied the literary research and emerge through the fragmentary nature of the Mime, such as the reformation of the plot, the structure, the apparatus scaenicus.However, the dominant question is the literary claims of ''Charition'' along with references to its lingual merits, its closely related subjects and the analogies it bears with a wide range of literary texts.

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Troupers: Essays in Three Rings is a collection of fourteen essays focused mainly on variety entertainers (including the author). It leads the reader through a menagerie of the author's own enthusiasms--from clowning and circus elephants, to hot jazz and the ukulele. While the primary occupation of the "troupers"spotlighted here has always been to delight audiences, many of them--both human and animal--could not escape the hardscrabble, the sundered relations, the violence of everyday life. The author tells the stories of these "troupers" here, stories that reveal both their suffering and their refusal to suffer.

In the early days of the twentieth century when vaudeville was the most popular theatrical entertainment in America, there were a number of female singers who became its star performers. In the process of conducting preliminary research for a dissertation topic on female singers of this era, it quickly became evident that while much has been written about opera singers of that era, only limited material was available on female vaudeville singers. Furthermore, the small amount of information which was available was so randomly scattered among various sources that it was difficult to perceive a composite picture of these performers.The purpose of this investigation into the musical styles and repertoire of three great female singer-comediennes of early vaudeville--Eva Tanguay, Nora Bayes and Sophie Tucker--is to determine what the reasons were for their tremendous popularity. Because vaudeville was the prime source of entertainment before the days of mass media, the American public was quick to make stars of many of its performers. This study seeks to ascertain what it was about thesewomen's particular musical styles, repertoire and personalities which made them so interesting and caused the public to make them vaudeville stars. Though there are certainly other female singers of this period which are also of interest:, these three were chosen because they were unique.This study is presented as a series of articles with separate chapters devoted to Eva Tanguay, Nora Bayes and Sophie Tucker as individuals. These chapters include biographical material, especially from books about vaudeville performers, and also explore critical reviews and other reports on their work from such sources as "Variety," "Theatre Magazine," and various newspaper accounts. Analysis of these sources on each individual within the chapters is included as well. The final chapter contains a summary of the research and a discussion of what conclusions were reached about the musical styles and repertoire of Eva Tanguay, Nora Bayes and Sophie Tucker as a result of this investigation.In addition to discovering the reasons for these performers' popularity and appeal, it is hoped that a viable by-product of this research has been to arouse renewed public interest in these three fascinating ladies of early vaudeville.

This thesis studies the impact of the work of Elena Jordi during the first Spanish avant-garde period (1890-1920) and the relationship between the myth of Thaïs and her homonymous film released in 1918. Here I track the trajectory of her career from its beginnings to culmination, when she directed Thaïs while leading an innovative vaudeville theatre company. The first chapter discusses the activity of Jordi as a Catalan actress, and woman entrepreneur in vaudeville. It analyzes the effect of the introduction of foreign vaudevilles on the reception of her work by critics through the theorization of Herni Gidel´s on vaudeville as genre. The second chapter reviews the cinematographic work of Jordi and situates it within the context of Catalan cinema´s early development as Spain´s first woman film director. After reflecting about the possible cultural influences that informed Jordi’s Thaïs, I explore the literary origins of the Legend of the Saint, an hagiography of Greek origins, and review relevant literary, operatic, and cinematic productions that incorporated this myth during the early Spanish avant-garde period. My conclusion highlights the original and similar features of Elena Jordi and Thaïs in their respective fields and different manifestations, simultaneously placing Jordi’s Thaïs in dialogue with the myth´s resurrection and its impact on the avant-garde feminist milieu. This demonstrates the formative influence of both Jordi as a pioneering artist and the enduring cultural influence of the myth of Thais on twentieth-century cultural production.