Tesi sul tema "Vaudeville"

At the turn of the twentieth century vaudeville was the most prevalent form of theatrical entertainment. With more than 1,500 houses across the country, vaudeville reached in excess of 30 million audience members each year. It directly led to the advent of film and radio. Yet barely one hundred years later vaudeville has been forgotten by the once loyal masses. This guide is meant to help counter vaudeville’s fall. By adding together a basic script consisting of comedy and dramatic sketches, original works and classic vaudeville acts with music and information on the how and whys of vaudeville, this guide will assist others in creating a vaudeville performance with the hope that vaudeville may once again reach the heights of its popularity.

Discussions of Irish representations in early American cinema often cite vaudeville as the source of crude Irish stereotypes. This thesis examines representations of the Irish in vaudeville from its beginnings and relates these to current debates regarding the function and significance of Irish stereotypes in early American cinema. The study of the Irish in popular culture has been recognised as one area where further research could shed light on ethnic identity formation among members of the Irish diaspora (Moloney 2009). To date, vaudeville has been overlooked in this regard. My thesis seeks to understand how Irish representations in vaudeville might have contributed to the development of an Irish-American identity during a period that witnessed the peak of both the Irish-born and second generation Irish population in America. This thesis makes a significant original contribution to knowledge. It adds to current debates in Irish film studies and shows that Irishness in vaudeville was imbued with meanings that were to become deeply embedded in American popular culture. It draws on a wide range of primary material, the majority of which has been neglected up to now in relation to vaudeville representations of the Irish. I have compiled a database of largely forgotten Irish vaudeville acts and show that Irish vaudeville performers contributed to images of themselves and other groups. I also present evidence of vaudeville plays which directly addressed Irish nationalist politics. Gender too influenced Irish representations and I illustrate the ways in which idealised versions of Irish masculinity and femininity were constructed in vaudeville. I conclude that vaudeville was not merely the source for early cinema's crude Irish stereotypes. Rather, I argue that the vaudeville stage provided one venue in which an Irish-American identity was constructed and negotiated, and that its Irish representations were more complex than has previously been understood

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.

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.

Louis Fuzelier est une figure essentielle de la vie théâtrale dans la première moitié du xviiie siècle :auteur de 181 pièces (129 seul, 52 en collaboration), fournisseur de toutes les scènes parisiennes (Opéra, Comédie-Française, Comédie-Italiennes, Foires), directeur de théâtre, parolier de cantates, musicien lui-même. Nous proposons ici la première étude de grande ampleur qui lui est consacrée, en réunissant d’abord tous les éléments connus de sa biographie, puis en retraçant sa carrière d’auteur dramatique. Nous établissons la liste détaillée de ses oeuvres. La part la plus importante de sa production est consacrée à l’opéra-comique ; nous proposons donc l’édition de toutes ses pièces de cette forme qui nous soient parvenues. D’autre part, nous utilisons ce corpus comme terrain d’analyse des pratiques liées au vaudeville, en commençant par une étude du vaudeville lui-même. Nous étudions l’écriture des couplets « sur l’air de » d’une part sous l’angle du lien entre texte et musique, et d’autre part sous celui du choix des airs. Enfin, nous proposons quelques jalons d’analyse dramaturgique de l’usage des couplets
Louis Fuzelier is an essential figure in the French theatre of the first half of 18th century : he is an author of 181 plays (129 alone, 52 in collaboration), a provider of all parisian stages (Opera, Comédie-Française, Comédie-Italienne, Fairs), a theatre manager, a cantatas lyricist, and a musician himself. I propose here the first large study about him, gathering every known fact of his biography, then recounting his dramatic author career. I draw up a detailed list of his works. The most important part of his work is devoted to opéra comique ; I therefore give an edition of all plays in this form which still exist. I also use this corpus as a field to analyze vaudeville-linked practices, beginning with a study of vaudeville itself. I study the writing of the verses of “sur l’air de”, with respect to both the text-setting and choosing the vaudevilles. Finally, I propose some elements of dramaturgic analysis of the couplets
Louis Fuzelier is an essential figure in the French theatre of the first half of 18th century : he is an author of 181 plays (129 alone, 52 in collaboration), a provider of all parisian stages (Opera, Comédie-Française, Comédie-Italienne, Fairs), a theatre manager, a cantatas lyricist, and a musician himself. I propose here the first large study about him, gathering every known fact of his biography, then recounting his dramatic author career. I draw up a detailed list of his works. The most important part of his work is devoted to opéra comique ; I therefore give an edition of all plays in this form which still exist. I also use this corpus as a field to analyze vaudeville-linked practices, beginning with a study of vaudeville itself. I study the writing of the verses of “sur l’air de”, with respect to both the text-setting and choosing the vaudevilles. Finally, I propose some elements of dramaturgic analysis of the couplets

Orientadores: Edgar Salvadori de Decca, Raphaelle Legrand
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
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Resumo: Nos anos de 1840, chegaram ao Rio de Janeiro duas companhias francesas de teatro, se instalaram em teatros da corte e começaram a apresentar um repertório bastante específico, vaudevilles e opéra-comiques. É da Compagnie Dramatique Française e da Compagnie Lyrique Française que esta tese vai se ocupar. Apesar de haver um verdadeiro silêncio sobre a trajetória desses dois grupos de artistas, o impacto que sua atuação causou nas práticas teatrais da corte brasileira é fundamental no processo de desenvolvimento de vários eixos ligados a essa arte, como a crítica artística, os regimentos das salas de espetáculos, o discurso que buscava a estruturação de um teatro nacional, a censura, o confronto com os significados do "civilizado" e dos valores franceses, etc. Dessa forma, compreender os mecanismos de atuação desses artistas franceses no Rio de Janeiro e as relações que eles estabeleceram entre as diversas instâncias ligadas à arte, possibilita entender os processos de formação cultural da corte e os diálogos estabelecidos com a arte francesa, os quais envolvem muito mais o estranhamento que o reconhecimento
Abstract: 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, and 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
Doutorado
Politica, Memoria e Cidade
Doutora em História

Thesis (Ph.D.)--Tufts University, 2004.
Adviser: Barbara W. Grossman. Submitted to the Dept. of Drama. Includes bibliographical references (leaves 214, 221). Access restricted to members of the Tufts University community. Also available via the World Wide Web;

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.

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

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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.

This study investigates how the gender of a performer affects the way they produce physical comedy in a theatrical context, framed through Kristeva's theory of abjection and Butler's notion of gender as performance. As a thesis by creative work, it produced an original piece of theatre, The Furze Family Variety Hour, which featured a male/ female comic duo, where the female performer enjoyed an equal share of the punch lines. The study generates a new understanding of how the body operates in physical comedy, namely, a system of bodily registers, as well as a new understanding of the female grotesque comic body.

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.

L’expression historique “canned” vaudeville désigne la « mise en conserve » du vaudeville américain (un spectacle de variétés dépendant de numéros diversifiés) par des moyens filmiques ou phonographiques. En croisant l’analyse des discours et l’analyse technique et formelle, cette thèse propose une archéologie de la mise en conserve médiatique à partir du vaudeville filmique et du vaudeville phonographique. Les courts métrages Vitaphone de la Warner Bros. au format son-sur-disque occupent une place centrale dans l’articulation de cette problématique sur une période allant des débuts de la phonographie et de l’institutionnalisation du vaudeville à la fin du 19ème siècle jusqu’à la généralisation de la technologie électro-acoustique dans le cinéma et les médias sonores dans la seconde moitié des années 1920. Suite à l’investigation du vaudeville sous le double angle de média de masse et de médium sensible, la place négligée du terme “canned” dans l’histoire des médias est revisitée à partir du cas de la phonographie acoustique et des discours corporatifs sur la “canned” music et le “canned” vaudeville. Il est ensuite question du contexte intermédiatique du vaudeville filmique à la généralisation du parlant et de la production, distribution et réception des courts métrages Vitaphone. Une analyse des possibilités matérielles du procédé son-sur-disque et de la mise en œuvre de son dispositif multi-caméra permet de mener une étude approfondie des stratégies d’adresse et de diégétisation dans les courts métrages restaurés de 1926-1930 et de les mettre en perspective pour la première fois avec des pratiques du vaudeville phonographique remontant au tournant du 20ème siècle
This dissertation reads the discourses, practices, and materialities of filmic and phonographic vaudeville through the broader history of “canned” media. Warner Bros.’ short films produced with the sound-on-disc Vitaphone process play a central role in this study which covers a period ranging from the beginnings of the phonograph industry and the institutionalization of vaudeville in the late 19th century to the introduction of electroacoustic technology in film and sound media during the second half of the 1920s. After studying vaudeville’s infrastructure as a mass media institution and its aesthetic capacities as a medium, the neglected role of the term “canned” in media history is reconsidered through practices of early phonography and trade press discourses on “canned” music and “canned” vaudeville. This leads to a contextualization of filmic vaudeville within the media landscape of the 1920s—the decline of big-time vaudeville and the rise of stage presentations in movie theatres—and an analysis of Vitaphone shorts’ production, distribution, and reception. The material possibilities afforded by the Vitaphone sound-on-disc technology and multi-camera set-up are then outlined and examined in relation to debates regarding sound and image scale. These technical considerations lay the groundwork for an in-depth investigation of approaches to address and diegetisation in the restored Vitaphone shorts from 1926-1930. The films’ means of addressing the spectator and of representing both the audience and the space of performance are put in perspective through examples of phonographic vaudeville dating back to the turn of the 20th century

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

Dissertação (mestrado) - Universidade Federal de Santa Catarina, Centro Tecnológico. Programa de Pós-Gradução em Engenharia de Produção.
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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.

La zarzuala est la modalite espagnole du genre lyrico-dramatique. Elle present les memes caracteristiques que l'opera-comique. Ce livre raconte l'histoire de la zarzuela de 1832 a 1851, c'est a dire l7epoque aucours de laquelle elle a connu ses plus grands succes. Elle est nee en 1932, au moment de la creation du conservatoire de madrid. Apres un silence de sept ans, elle apparait a nouveau et se developpe regulierement jusqu'a sa plenitude en 1851. Dans sa forme et son style, elle a subi l'influence du vaudeville, de la tonadilla et du sainete. A l'origine, c'est un genre populaire, xenophobe, et patriotique, qui defend les valeurs anciennes de l'espagne provinciale. On y raille les modes etrangeres, les aristocrates, l'opera italien. A partir de 1847, elle met en scene des types modernes, et devient tres proche de l'opera-comique francais plus police. En 1850, elle presente a nouveau les types populaires modernes du vieux madird. Nee a madrid, elle connait une grande vogue en andalousie ou sont crees de nombreux ouvrages. Nous avons etudie la zarzuela dans une perspective chronologique. Chauqe livre permet de suivre l'evolution du genre : strucuture des livrets et de la musique, et l'imbrication de ces deux elements pour aboutir a un ensemble qui presente la meme coherence formelle que l'opera-comique francais. .
The zarzuela is the spanish modality of the lyrico-dramatic genre. It presents the same characteristics as the comic-opera. This book tells the story of the zarzuela, from 1832 to 1851, i. E. , at the time of its greatets success. It appeared in 1832, at the moment when was created the madrid conservatory. After a seven years silence, it appeared again, and developped itself regularly, till its climax in 1851. In its form and style, it was influenced by the vaudeville, tonadilla and sainete. In the beginning, it is a popular, xenophob and patriotic genre, which defends the old values of rural spain. The foreign fashions, the aristocrats and italian opera are laughed at. From 1847, it stages modern types and resembles mors civilized french comic-opera. In 1850, it presents again the popular types of the old madrid though it appeared in madrid, it was success full in andalucia and many works were created there. Whe studied the zarzuela in chronological perspective ; every book allows to follow the evolution of the genre : structure of the librettos, and of music, nad thye imbrication of both elements, to lead to a set which presents the same formal coherence as the french comic opera. .

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

Thesis (M.A.)--University of Cincinnati, 2009.
Advisor: Kimberly Paice. Title from electronic thesis title page (viewed Aug. 27, 2009). Includes abstract. Keywords: Winsor McCay; comics; cartoonists; Dream of the Rarebit Fiend; vaudeville;. Includes bibliographical references.

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.

Charles-Simon Favart (1710-1792) fut une figure rayonnante dans la vie théâtrale du XVIIIe siècle en France et en Europe. Auteur prolixe, il contribua à l'évolution des comédies à vaudevilles vers un nouveau genre d'opéra-comique. Les écrits abondent à son sujet, pourtant bien des zones d'ombre demeurent. Les aventures dont sa femme, la célèbre Madame Favart, et lui-même furent victimes, ont contribué à fausser les nombreux récits de leur vie. En croisant des documents et en découvrant certains manuscrits, nous avons pu donner un reflet plus juste de leur vie. Penchée spécialement sur les débuts de carrière de Favart, nous éditons sa première oeuvre, Ninus et Sémiramis, véritable féerie, écrite à l'âge de quinze ans. Par l'examen attentif de cinq autres manuscrits inédits de ses débuts, à savoir, deux prologues : Le Génie de l'Opéra-comique, Les recrues de l'Opéra-Comique, deux parodies censurées : les amours de Gogo, Sansonnet et Tonton et une parodie : Harmonide, nous analysons sa dramaturgie, hors écriture en collaboration. Il maniait les vaudevilles avec un art consommé et nous éditons sa Clef de vaudevilles comme le probable initiateur du Caveau moderne. Nous donnons la reconstitution du livret d'Harmonide
Charles-Simon Favart (1710-1792) was a prominent figure in the theatre, in the 18th century in France and in Europe. He wrote and composed a lot of works and contributed to the evolution of vaudevilles towards a new genre of opera-comique. Many comments have been written about him yet many gray areas remain. The unfortunate experiences, of which his wife, famous Madame Favart and himself were the victims, have contributed to altering the numerous accounts of their lives. By criss-crossing various documents and exploring some new manuscripts, we were able to give a fairer account of their lives. Concentrating on the beginning of Favart's career, we publish his first work, Ninus and Semiramis, which is a real fairytale written at the age of 15. Through the study of five other manuscripts written at the beginning of his career, that is two prologues, Le Génie de l'Opéra-comique, Les recrues de l'Opéra-Comique, two parodies which were censored, les Amours de Gogo, Sansonnet et Tonton and another parody, Harmonide, we analyse his drama work, except the work he wrote in collaboration. He was a skilled writer of vaudevilles. We publish his Clef de vaudevilles as the likely initiator of the Caveau moderne. We hereby publish the complete libretto of Harmonide

The sculptural environments I create immerse the viewer in a decrepit vaudevillian past. The sculptures allude to narratives within Community Theater as well as the Drag Show. Making becomes an act; manipulating materials such as synthetic hair and paint are associated with the guise of the makeup artist. Frantic rehearsal logic prevails as a dress is repurposed into a male giant's costume and window blinds are used to construct a boat's deck. This collusion asks the viewer to transgress the boundary of the stage, becoming a voyeur privileged to the world of exiled props and role reversal.

Maître du vaudeville de 1880 à 1916, Feydeau renouvelle un genre en désuétude en en compliquant le mécanisme. Pourtant, il fonde sa dramaturgie sur un procédé rebattu, la répétition. A l’intérieur d’une même intrigue, Feydeau recycle malentendus, situations, jeux verbaux et gestuels. Ce système, fondé sur un procédé mécanique et en apparence consensuel comme la répétition, devient une machine à vertige qui produit les conditions de son dysfonctionnement et dit sa propre faillite. Par une dramaturgie mécaniste, une poétique et une stylistique répétitives, Feydeau explore la notion même de mécanisme, en questionne les vices de construction et les risques de déraillement. Feydeau tente de cerner la place de l’humain dans le mécanisme : la scène servirait de laboratoire mettant à l’épreuve les systèmes de pensée de la « Belle Époque ». À la fin d’un siècle dominé par une conception déterministe des lois de la nature et des destins individuels, Feydeau questionne la liberté de personnages soumis à un système contraignant et à une vitesse accélérée. Le mécanisme psychique, lui, semble régulé et ébranlé par des pulsions répétitives. Contemporain de Charcot et de Freud, Feydeau met en scène crises d’hystérie, hypnotiseurs névrosés, situations fantasmatiques et cauchemardesques. Enfin, à l’heure où Saussure conçoit la langue comme un système arbitraire, Feydeau donne à entendre des mots qui s’usent à chaque profération. Cette étude se propose non seulement de réévaluer la modernité de l’auteur mais aussi d’inclure Feydeau et la comédie vaudevillesque dans les grilles de lecture qui nous aident à mieux comprendre l’entre-deux siècles et ses contradictions
Feydeau, the indisputed master of the vaudeville from 1880 to 1916, reviewed this then obsolete genre by complexifying its mechanism. And yet, his style and dramatic patterns are founded on an apparently overused process – repetition. Within the same plot, Feydeau exploited structural, verbal or physical patterns that are characteristic of repetition. His dramaturgic system is founded on a mechanical and seemingly consensual pattern, yet it seems to be creating and enunciating the very conditions of its own failure. Repetitive poetics and stylistics are tools that Feydeau used to explore the very notion of mechanism, its faults and limitations. The stage might hence be viewed as a full-scale laboratory that puts to trial the Belle Époque theories and questions the place of man within any mechanism. While the 19th century had been dominated by a conception of natural laws and individual destiny that heavily relied on determinism, Feydeau questioned his characters' freedom by submitting them to the rules of a system of constraints and ever-increasing speed. The psyche itself appears to be regulated as well as threatened by repetitive impulses. Feydeau, who was contemporary with Charcot and Freud, staged in his plays numerous fits of hysteria, along with neurotic hypnosis doctors and fantasmagoric, nightmarish situations. Finally, as Saussure was elaborating his theory of language as an arbitrary system, these characters’ words exhausted their own meaning with each utterance. My dissertation's purpose is not only to re-evaluate Feydeau's modernity, but also to include him and vaudeville in broader cultural theories that help better understand the fin de siècle

Dès la naissance de l'opéra français, la parodie investit la scène de tous les théâtres parisiens. En dépit de la politique des privilèges, les théâtres sont loin d'être étanches les uns aux autres. Paradoxalement, c'est même le priviège écrasant de Lully qui provoque l'éclosion des premières parodies. En tant qu'échos du du spectateur, les parodies sont un indice de la popularité des airs et des oeuvres, et un révélateur privilégié de la représentation du spectacle lyrique. Plus qu'une création artistique, la parodie est avant tout un exercice de style qui obéit à une logique commerciale. De nature dialogique et polyphonique, elle s'inscrit dans l'horizon d'attente de son public et en retour s'enrichit des réactions de celui-ci, jouant ainsi son rôle de critique théâtrale à l'heure où celle-ci en est encore à ses premiers balbutiements. L'étude de la réception des opéras à travers leur prisme parodique dessine donc une histoire de goût. L'air de divertissement, facilement mémorisable, s'échappe lui aussi de son contexte originel pour devenir fredon. La parodie musicale, par-delà sa dimension ludique, ouvre la voie à des questions esthétiques fondamentales, comme celle de la relativité du lien entre le texte et la musique. La parodie, par-delà la diversité de ses pratiques, est un phénomène socioculturel emblématique d'une culture circulaire dans laquelle les échanges entre les théâtres, entre la musique dite "savante" et la musique dite "populaire", sont nombreux et réciproques. L'air chanté, par sa plasticité et sa capacité à passer de bouche en bouche et de scène en scène, se révèle un facteur de porosité entre les frontières spatiales, génériques et sociales
When French opera was born, parody took over all Parisian theatres. Despite the policy of privileges, Parisian theatres were in no way sealed off from each other. Paradoxically it was the overwhelming privilege granted to Luly That led to the devlopment of the first parodies. Parody, being echo from the audience, provides an excellent indication of the popularity of melodies and of the different works and reveals how lyrical performances were perceived by the public of the time. More than an artistic creation, parody was above all a stylistic exercise that was submitted to a commercial logic. Its nature being dialogical and polyphonic, parody responded to the expectations of its spectators and was in turn enhanced and altered by their reactions. It thereby functions as theatre criticism at a time when such criticism was still at its early stages. The study of the reception of operas through the prism of parody, thus outlines a cartography of taste. The 'air de divertissement", easy to remember, broke away from its original context to become vaudeville. Its light and playful dimension put aside, the musical parody paves the way for a reflection on fundamental questions of aesthetics, such as the relative character of the link between text and music. Well beyond the diversity of practices, parody is a socio-cultural phenomenon that is emblematic of a circular culture in which the exchanges between theatres, between so-called "erudite" music and "popular" music are numerous and reciprocal. The tune wich was sung, because of its malleability and its easy oral transmission not only from person to person but also from stage to stage, caused porosity between spatial generic and social frontiers

La commercialisation de la presse en France à partir de 1836 a été blâmée, notamment par Jürgen Habermas, pour la désintégration de la sphère publique. Selon son modèle, l'influence croissante de la publicité commerciale sur le contenu des journaux aurait contribué à faire des lecteurs des consommateurs passifs, plutôt que de les encourager à se servir de leur raison critique. Pourtant l'identification et l'analyse de 140 pièces de théâtre (dont 76% de vaudevilles), démontrent que le théâtre commentait constamment les pratiques de la nouvelle presse entre 1836 et 1848. Les critiques dramatiques et les romanciers, dont Honoré de Balzac, s'inspiraient de ces mises en scènes de la presse en écrivant leurs articles et romans. Ce faisant, ils se joignaient aux vaudevillistes en offrant au public des points de vue variés et critiques sur la presse, préservant au moins jusqu’en 1848 leurs auditoires d'une acceptation docile du nouveau modèle de distribution de la presse
Press commercialization, particularly after 1836, has been blamed for the disintegration of the public sphere in France. According to this model, whose best-known proponent is Jürgen Habermas, the increasing influence of commercial publicity on the content of newspapers made passive consumers of newspaper readers, rather than encouraging them to use their critical reason. Identification and analysis of 140 plays about the press (76% of which are vaudevilles) shows that the theater provided a constant critique of the new press between 1836 and 1848. Theater critics and novelists, including Honoré de Balzac, modeled aspects of their own articles and books on such performances. In so doing, they joined playwrights in their efforts to offer the public varied and critical perspectives on the press, ensuring, at least until the end of the July Monarchy, that the public did not accept the press' new marketing strategies without reflecting on their social and political implications

Dans la période 1862 à 1914 le Théâtre du Châtelet accueillait trois genres musicaux différents : le grand spectacle, les concerts symphoniques des Concerts Colonne et le théâtre musical d’avant-garde (Salomé de Richard Strauss, Ballets Russes de Serge de Diaghilev). Par rapport à la variété musicale et à la composition sociale du public diversifiée de ces trois genres, la production musicale du théâtre du Châtelet est représentative pour la vie musicale parisienne autour de 1900. L’étude du Théâtre du Châtelet comme espace de production et de réception musicales se base sur l’approche de la sociologie de l’architecture. A son aide nous étudierons les influences de l’haussmannisation sur la pratique théâtrale et musicale. En outre, nous définirons un modèle de réception pour chaque genre afin d’étudier le rapprochement entre les genres « populaires » et « savants » au début du 20e siècle. Cette dernière étude éclaircira les bases culturelles de l’éclectisme en musique des années 1920
In the period from 1862 to 1914 the Parisian Théâtre du Châtelet hosted the three different musical genres grand spectacle, symphonic concert (Concerts Colonne) and musical theatre of the avant-garde (Salome of Richard Strauss, Ballets Russes). This range of genres is musically and socially representative of the musical life of Paris. The study of this theatre as a room of musical production and reception in the period from 1862 to 1914 analyses the establishment and the institutionalisation of these different genres in the Théâtre du Châtelet and defines a reception model for each of them. Methodologically our study is based on the approach of sociology of architecture and the spatial concept of the theatre historian Mercedes Viale-Ferrero. A comparison of the three different types of musical production in that époque sheds light on the eclecticism of the 1920s when Paris advanced to be the European capital of the arts

Eugene Labiche (1815-1888) est l'un des grands auteurs de vaudeville du XIXe siècle français. Auteur de 174 pièces, il a su décrire avec finesse et humour les méandres de la société française, en particulier de la moyenne bourgeoisie. Il a notamment insisté sur les points suivants : le mariage, omniprésent, assorti de son contraire, l'adultère ; l'alimentation, sources de pratiques sociales de distinction ; la domesticité et le duel, phénomènes caractéristiques évidents de l'époque ; enfin le rôle de Paris, "capitale du monde", centre de gravité de sa géographie théâtrale. Ce point de vue descriptif est la partie la plus reconnue de son oeuvre, faisant de lui un auteur "tout public". Une analyse plus approfondie conduit à corriger cette opinion. Labiche a peint un nombre important d'entorses aux conventions socialement admises, ce qui en fait un auteur ambigu. Noyant ses appréciations dans le foisonnement des intrigues, il se livre à une critique acide du système politique démocratique en cours de construction dans la France de ce temps ; il accorde aux femmes un rôle déterminant dans plusieurs actions ou elles démontrent leur capacité à peser sur le cours des évènements ; enfin, il tourne en dérision les maîtres par rapport aux domestiques en inversant les fonctions sociales de chacun. Sur le plan moral, Labiche se délecte à présenter l'adultère comme un comportement naturel, alors qu'il est pénalement sanctionné pour les femmes, dans une atmosphère générale de sensualité débridée. De nombreux personnages ont des attitudes contestables au plan de la conscience morale et plusieurs pièces laissent perdurer des situations foncièrement injustes. Enfin, une lecture plus métaphorique fait apparaitre une mise en avant indéniable de la sexualité, sujet tabou de la conscience sociale du XIXe siècle. Cette amoralité de Labiche, partisan du libéralisme des moeurs et simultanément franchement réactionnaire, en fait un peintre original de la société de son temps.

Il testo indaga il rapporto tra messinscena e scrittura nell'opera di Edoardo Ferravilla, commediografo e capocomico milanese attivo nell'ultimo quarto del XIX secolo. Dopo un primo capitolo che introduce vita e opere di Ferravilla, capitolo nel quale ha un certo peso il problema della definizione di un corpus ferravilliano, il lavoro entra nel vivo nel secondo capitolo, che studia la questione del personaggio nell’opera di Ferravilla: problema fondamentale nel teatro ottocentesco, e che viene affrontato sia con una serie di considerazioni generali sia analizzando singolarmente i principali personaggi creati da Ferravilla. Nel terzo capitolo, più espressamente letterario, si identificano due filoni differenti nell’opera di Ferravilla, e li si studia mettendo a confronto due opere, una per ciascun filone. Il quarto capitolo interroga la modernità dell’opera di Ferravilla, basandosi sulle categorie proposte da Peter Szondi nella "Teoria del dramma moderno". Il quinto capitolo, infine, analizza la lingua dell’opera di Ferravilla. Dopo le conclusioni, una breve appendice raccoglie alcune citazioni che testimoniano i rapporti di Ferravilla con alcuni grandi autori dell’Otto e Novecento italiano.
In this research I explore the work of Edoardo Ferravilla, a playwright and capocomico operating in Milan in the last quarter of the nineteenth century; the focus is on the relationship between writing and staging. After introducing Ferravilla's life and works in the first chapter, in which the problem of the definition of a Ferravilla's corpus is relevant, my work gets to the heart in the second chapter, where I analyze the question of the character creation in Ferravilla's work; this is a key problem in nineteenth-century theater, that I address both singling out the main characters Ferravilla created and delivering general remarks. In the third chapter, I identify two different strands of Ferravilla's works from a more literary perspective, and I study them by comparing two works, one for each strand. The fourth chapter queries the modernity of Ferravilla, employing Peter Szondi's categories issued in his "Theory of modern drama". In the fifth chapter I analyze the language in Ferravilla's works. After the Finding chapter, a brief appendix collects some quotes that testify the relationships between Ferravilla and several great italian authors of the nineteenth and twentieth century.

碩士
輔仁大學
法國語文學系
92
Un comique irresistible de belle facture, assorti d'un immense talent d'architecture dramatique assure aujourd'hui a Feydeau le triomphe. Mon memoire a essaye de montrer la virtuosite; et la modernite du vaudeville de Feydeau en s'appuyant sur "La Dame de chez Maxim". Cette piece qui a battu tous les records des representations vaudevillesques, marque un point culminant dans l'art du vaudeville et, par son audace et son originalite, ouvre de nouvelles voies aux recherches de la theatralite moderne. J'ai divise mon memoire en quatre parties. - L’introduction donne un apercu de la vie de Feydeau et annonce les structures de mon argumentation. - Puis le premier chapitre donne un panorama du genre vaudeville, son histoire, ses principaux representants. J'introduis Feydeau dans ce chapitre comme l'un des vaudevillistes les plus remarquables dans l’histoire du genre. - Dans le chapitre suivant, l’analyse de La Dame permet une demonstration concrete du chapitre theorique precedent. L’intrigue de cette piece extraordinaire ressemble a un arbre autour duquel viendrait s’enrouler tout un enchevetrement de lianes. Son analyse se revelait difficile et complexe; aussi, ai-je essaye de l’eclairer par un tableau qui montre l’enchainement des causes et des effets dramatique. La seconde partie de ce chapitre est centre sur l’etude des structures spatio-temporelles de la piece. J’ai essaye d’y faire decouvrir le kaleidoscope des indices de l’espace et du temps, cree par l’imagination du dramaturge. Nous voyons aussi dans cette partie comment La Dame reflete tout a fait la societe de ‘La Belle Epoque’. J’ai fait ensuite l’analyse des personnages de Feydeau si vivants et vraiment uniques. Jeux de scenes et mouvements y sont discutes. Et l’on decouvre que c’est le mouvement meme des personnages qui donne a la piece tout son rythme. Enfin, je suis passe a l’etude du langage comme l’une des sources les plus importantes du comique de la piece. Nous y pressentons deja les premices du theatre de l’absurde et du surrealisme. - La conclusion souligne la modernite et l’originalite d’un Feydeau qui, dans beaucoup de pays du monde tient encore brillamment l’affiche, sans prendre une ride.

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.

Vu le caractère interdisciplinaire de ce projet de recherche qui nous a amené à la présentation d’une thèse de Doctorat sur la Réception du théâtre d’Eugène Scribe sur la scène lisboète (1822-1860), nous avons été fortement impliqués par le croisement de savoirs et de compétences dans différents domaines qui vont de la Littérature Comparée et des Études Théâtrales à l’Histoire de l’Art et des Idées. En effet, mener à bien un tel projet signifie d’emblée se centrer sur les questions de production et de création dramaturgique, sur l’art de la mise en scène et la scénographie, sur l’art de la traduction et de l’adaptation pour le théâtre, sur la constitution du répertoire des salles de spectacle, sur le goût du public et sur la circulation des modèles dramatiques et artistiques dans le panorama culturel franco-péninsulaire. Dans ce sens, nous nous sommes interrogés sur l’influence de la dramaturgie de l’auteur français sur la dramaturgie et l’art de la représentation portugaises afin de mesurer un tel impact sur le champ culturel portugais du XIXe siècle. Une réflexion de cette nature nous a obligés, par la même occasion, à réévaluer les relations existantes entre la dramaturgie étrangère et un théâtre qui se veut profondément national. L’introduction du goût envers un genre nouveau à Lisbonne, le vaudeville, se fait par le biais de la découverte de la production dramatique scribienne qui, sur le sol portugais, déclenche la vogue du théâtre musical et développe l’industrie de la création des pièces de musique et de danse. Grâce à cette importation, on doit au théâtre d’Eugène Scribe l’âge d’or de l’opéra-comique au Portugal à cette époque. L’effervescence de l'importation et de l'intégration de cette réalité littéraire et culturelle dans notre culture est due, en grande partie, à la vogue d’un certain théâtre de boulevard dont Eugène Scribe occupait une place de choix. Les répertoires des salles de spectacles à Lisbonne, au cours de la première moitié du XIXe siècle, constituent un exemple emblématique de la fortune d’Eugène Scribe au Portugal
Given the interdisciplinary nature of this research which has led to the presentation of a doctoral thesis about the reception of the drama of Eugene Scribe in the theatre scene in Lisbon (1822-1860), it has been heavily involved by exchanging of knowledge and skills in various areas ranging from Comparative Literature to Theatre Studies in the History of Art and Ideas. Indeed, to complete this project means, right from the beginning, focusing on the issues of dramatic production and creation, the art of staging and set design, the art of translation and adaptation for the theatre, the constitution of the repertory of theatres, the public’s preference, and especially, the movement of dramatic and artistic models within the Franco-Iberian space. Thus, the question is placed whether the influence of the French drama author, the dramaturgy and the art of Portuguese representation, in order to quantify the impact in the cultural field of the Portuguese nineteenth century. A reflection of this nature forces one, all at once to reassess the relationship between the foreign dramaturgy and a theatre that wants to be a profoundly national. The introduction of a preference for a new genre, in Lisbon, the vaudeville, is made through the discovery of Eugène Scribe’s dramatic production which, in Portugal, triggers the popularity of musical theatre and develops the creative industry of musical and dance plays. It is due to Eugène Scribe’s theatre that Portugal had a golden age of comical opera in that period. The effervescence of this import and integration into the literary and cultural reality of our society is due, largely, to the popularity of Eugène Scribe’s theatre, also known as Boulevard, which conquered a prominent position. The repertoires of theatre rooms in Lisbon, during the first half of the nineteenth century, are an emblematic example of Eugène Scribe’s fortune in Portugal.
Dada a natureza interdisciplinar desta pesquisa, que nos levou à apresentação de uma tese de doutoramento intitulada Réception du théâtre d’Eugène Scribe sur la scène lisboète (1822-1860), fomos amplamente envolvidos pelo cruzamento de saberes nas mais diversificadas áreas que abarcam a Literatura Comparada, os Estudos Teatrais, a História da Arte e das Ideias e questões periodológicas, designadamente, em torno do Romantismo em Portugal, que indubitavelmente se operou por influência francesa. Analisamos também a importância da indústria do teatro e da reforma teatral realizada pela geração romântica, o grande número de peças de Eugène Scribe levado a cena, a progressiva democratização do teatro, a aquisição de um status social e económico do autor, o sucesso da receção dos géneros mais populares com base em adaptações, traduções e até mesmo empréstimos de obras francesas, a necessidade de adaptação de peças parisienses e a renovação do repertório de diferentes espaços teatrais. Isso permitiu-nos ver como o teatro francês foi um importante contributo para a regeneração do teatro português durante o século XIX. Além disso, levar a cabo um tal projeto implicou uma reflexão profunda sobre questões como a produção e a criação dramáticas, a arte da tradução e da adaptação para o teatro, para além da análise da constituição do repertório das salas de teatro, de uma abordagem à receção em conformidade com o gosto dos públicos e, principalmente, uma reflexão em torno da circulação de modelos dramáticos e artísticos no espaço Franco-peninsular. É durante o período romântico que o teatro de Eugène Scribe penetra decisivamente em Portugal, apesar de alguns constrangimentos entre os defensores da tradição nacional e entre os defensores da importação de modelos estrangeiros. Ao longo deste estudo, o ano de 1835 foi um verdadeiro pivot para a introdução do dramaturgo francês em Portugal, com a chegada da companhia francesa liderada e dirigida por Émile Doux ao teatro da Rua dos Condes com a representação das peças Une Faute e Les premières amours, ou les Souvenirs d’enfance. A partir deste evento, as peças de Eugène Scribe tiveram várias apresentações em várias línguas (Francês, Português e Espanhol) no palco de Lisboa, facto que contribuiu decisivamente para a renovação dos repertórios das companhias nacionais. Estudamos, na verdade, o impacto da produção dramática scribiana - nomeadamente no que concerne o vaudeville - em criadores portugueses, num momento em que se procurava reformar o teatro nacional. Neste sentido, interrogamo-nos sobre a real influência do dramaturgo francês Eugène Scribe no drama e na arte da representação em Portugal, a fim de qualificar e de quantificar o grau de receção das suas peças no panorama cultural português do século XIX. Uma reflexão desta natureza obrigou-nos, ao mesmo tempo, a reavaliar as relações de implicação existentes entre a dramaturgia estrangeira e um teatro que se proclamava profundamente nacional. Nos teatros da capital, o gosto por um novo género – o vaudeville - progride e amplia-se através da redescoberta da produção dramática de Eugène Scribe que, em solo português, fez disparar a popularidade do teatro musical e desenvolveu a indústria da criação de peças de música e dança. Graças à diversidade e à difusão de obras de Eugène Scribe, este dramaturgo é omnipresente na vida cultural portuguesa da primeira metade do século XIX. A sua comédia, Une Faute é o primeiro evento de uma história longa, que inclui uma grande e variadíssima amostragem de peças, que será cumprida com fervor e entusiasmo por várias décadas. Os escritores e os dramaturgos responsáveis pela superação daquilo que eles e o público viram como um verdadeiro atraso na dramaturgia portuguesa foram igualmente os responsáveis pela receção e pela difusão de Eugène Scribe em Portugal. É verdade que os defensores da reforma do teatro português, designadamente Almeida Garrett, procuraram e encontraram nas peças de Eugène Scribe uma veia ou uma fonte de inspiração e, simultaneamente, uma forma de renovação dos repertórios da cena lisboeta da primeira metade do século XIX. A influência, assimilação ou importação deste modelo scribiano não acontece, contudo, sem alguns obstáculos. Numerosas são as controvérsias entre os partidários da produção dramática nacional e os que, ao contrário, defendem a introdução da dramaturgia estrangeira em voga na Europa. Grande é a heterogeneidade de textos críticos e a diversidade de opiniões que circulavam na época sobre a obra do dramaturgo francês que se pautaram entre a oposição e a defesa do seu modelo, nas suas diversas modalidades, desde a imitação declarada à tradução e à adaptação. No início desta pesquisa, pensamos que o estudo da receção de Eugène Scribe em Portugal incidiria sobre os traços da influência do dramaturgo francês nas obras e no pensamento estéticos de artistas e críticos portugueses do período romântico. Mas foi mais do que isso. Com o avançar da nossa investigação, surgiu a necessidade de estudar a receção imediata de Eugène Scribe e, posteriormente ainda, a receção crítica. A receção imediata ou "a interação do autor e do público", segundo Hans-Robert Jauss, é indissociável da análise do conceito de difusão da sua obra no momento das representações. Este termo difusão é, em nossa opinião, mais capaz de descrever pela sua diversidade e pela sua heterogeneidade, os vários contactos estabelecidos, neste período da primeira metade do século XIX, entre o público português e a obra de Eugène Scribe. O estudo da difusão de Eugène Scribe em Portugal, desde o dealbar do século XIX, nomeadamente, a partir da introdução na cena portuguesa das obras do dramaturgo representadas em francês por duas companhias francesas (1822 e 1835), implicou que tivéssemos em conta as variadíssimas formas ou modalidades expressivas através das quais as peças scribianas foram representadas diante do público lisboeta. Tal facto, além disso, levou-nos a questionar não só a especificidade de cada forma, em termos da relação com o original de Eugène Scribe, mas também os modos de receção por parte do público português. A difusão de Eugène Scribe em Portugal torna-se, na verdade, massiva e multifacetada. Manifesta-se primeiramente através do original em francês, direcionando-se como tal para um público erudito e progressivamente amplifica-se pela tradução. Com efeito, a receção do teatro de Eugène Scribe em Portugal, desde 1822 a 1860, opera-se de modo paulatino, diverso, mas progressivo, desenvolvendo-se de diversas formas, (elitistas e populares, importantes e secundárias) introduzindo-se a novidade francesa na arte da representação portuguesa. Essa arte tem em comum a particularidade de abordar novos sentidos, de propor, a partir do texto de Eugène Scribe, um novo texto convertido pela tradução numa nova realidade de signos visuais e auditivos, por meio das propostas interpretativas de atores e cantores, ou através da imaginação do público. Assim sendo, o texto estrangeiro perde em parte as feições francesas e a distância cultural que o caracterizava, angariando perceções familiares ao espectador do teatro nacional. A receção da dramaturgia francesa sempre atraiu grande interesse por parte dos investigadores portugueses que, nas últimas décadas do século XX, principalmente na década de 1980, realizaram vários estudos sobre grandes autores do texto teatral francês e sobre outros géneros literários em geral. No entanto, a divulgação de Eugène Scribe nunca foi estudada - em extensão e profundidade -, pelo que, através da pesquisa que aqui se propõe, bem como das discussões derivadas da mesma, acreditamos estar a produzir um estudo que pode ser útil aos momentos de aprendizagem e reflexão científicas em torno da área da dramaturgia e da receção da cultura francesa em Portugal. Se a receção de Eugène Scribe em Portugal durante o período romântico tem críticos e historiadores pontualmente interessados, nenhuma síntese dos vários modos de distribuição tem sido realizada. Foi assim indispensável aprofundarmos estes estudos para se compreender a extraordinária influência de Eugène Scribe em Portugal durante o século XIX, e para reconstruir não apenas os grandes eventos, mas também a realidade quotidiana do recetor português. O estudo por nós levado a cabo teve assim a intenção de promover o fortalecimento e a institucionalização dos conceitos formulados sobre o teatro de Eugène Scribe, não só a nível da dramaturgia francesa como também a nível da dramaturgia portuguesa; além de dar relevo à projeção nacional e europeia do dramaturgo. Chegamos ainda a resultados muito importantes sobre a encenação, a cenografia, a arte de representar, a arte de traduzir e adaptar para teatro, a constituição dos repertórios das salas de espetáculos, o gosto do público da época, assim como a considerações sobre a circulação de modelos literários e artísticos no sul da Europa. Este estudo sobre os eventos importantes da difusão de Eugène Scribe e da sua receção imediata permitiu medir o fervor do teatro de Eugène Scribe desde a sua aparição em solo português. No fundo, desejamos evidenciar o impacto que as representações teatrais das suas peças tiveram no nosso país, ou seja, como e de que forma é que o nosso público acolheu este autor, já que mais tarde toda a sua produção literária caiu no esquecimento. Para isso, abordamos a sociologia da literatura que visa estudar o contexto de criação e difusão dos textos. Apesar das preocupações sociais em relação à literatura não serem recentes, só na segunda metade do século XX é que apareceram as primeiras tentativas de estudos sociológicos da literatura. Essa ciência encara a literatura sob diversas formas: através dos textos, do público, da inserção da obra na sociedade e do contexto histórico e geográfico. A literatura é influenciada pela sociedade que a rodeia mas também se torna instrumento social que, por sua vez, influencia essa mesma sociedade. Nesse sentido, no seio das múltiplas teorias que se desenvolveram nessa área no século passado, a teoria do chamado “campo literário” preconizada por Pierre Bourdieu assim como as noções de “polisistema” e “sistema literário” apresentadas por Itamar Even-Zohar foram as mais pertinentes para o nosso estudo. Basicamente com tais pressupostos quisemos mostrar o impacto que a circulação das peças de Eugène Scribe tiveram no panorama cultural português. A natureza desta investigação permitiu-nos, por isso, revisitar a história do teatro português, pois a receção de um autor estrangeiro implica um olhar atento sobre os repertórios dos teatros e sobre a ação de vários agentes culturais da época, desde o produtor, ao mercado, às instituições, ao consumidor, de que nos falam Pierre Bourdieu e Itamar Even Zohar. Se considerarmos a forma como foi recebida a obra de Eugène Scribe, tanto no país de origem - ou seja, em França - como num país estrangeiro - neste caso, Portugal - inevitavelmente entramos no âmbito da literatura comparada como campo de investigação que nos conduziu a uma análise comparativa que permitiu confrontar textos inerentes à adaptação e tradução das peças do dramaturgo francês, muito ao gosto do público de Lisboa. Vimos, ainda, como a dramaturgia de Eugène Scribe se insere no horizonte de expectativa do público da época e, de que forma, ele se tornou um dos dramaturgos mais representados, no século XIX, nos teatros de Lisboa. Esta análise levou-nos a refletir sobre as relações mais ou menos controversas que se desenvolveram entre a dramaturgia estrangeira e um teatro que se dizia profundamente nacional. Assim, levou-nos a procurar, a partir de fontes de natureza diversa desde a imprensa, as memórias e fotobiografias de atores e de dramaturgos, aos textos críticos e teóricos da época, os fundamentos e as respostas ao fenómeno da receção de Eugène Scribe em Portugal. Além disso, uma análise comparativa que permite reaproximar os textos relativos à adaptação e à tradução das peças do dramaturgo francês, bem ao gosto do público de Lisboa, consistiu no apanágio da nossa pesquisa, uma vez que o estudo da receção de um autor estrangeiro numa cultura nacional implica, também, a determinação de elementos que possam identificar o processo de nacionalização, mais ou menos em vigor. O teatro de Eugène Scribe é, de longe, o mais representado neste âmbito. Ele é cabeça de cartaz ao longo de décadas, não apenas em pequenas companhias teatrais como a do teatro do Salitre, mas especialmente junto da troupe do teatro nacional D. Maria II até à década de 1860. Como pode ser visto nos dois volumes do Repertório Teatral na Lisboa Oitocentista de Ana Clara Santos e de Ana Isabel Vasconcelos, mais de oitenta por cento das representações sobre o palco da capital portuguesa devem a sua origem ao repertório parisiense. Convidam-se as companhias francesas, traduz-se e adapta-se à pressa os grandes sucessos do Théâtre des Variétés, do Théâtre du Gymnase-Dramatique, ou do Théâtre de la Porte Saint-Martin. A voga da "pièce bien faite", capaz de projetar a imagem da sociedade sobre o palco interpelando o público sobre as virtudes e os vícios, justifica a reputação de Eugène Scribe sobre a cena portuguesa A afirmação deste novo gosto dramático veiculado pela importação da tradução de obras de Eugène Scribe obrigou-nos também a olhar para o fenômeno cultural em voga na época. Ao termo de tradução, devemos agora substituir sistematicamente os de imitação e de adaptação, uma vez que os textos do dramaturgo francês traduzidos não foram exceção à regra e sofreram modificações em conformidade com a prática da tradução daquele tempo bem “ao gosto português”. Em alguns casos, o tradutor escondia-se por trás da máscara do anonimato; em outros casos, a prática era mais insidiosa porque ela consistia em não declarar o empréstimo ao autor, Eugène Scribe. Expurgado e adaptado, Eugène Scribe, impõe-se então no panorama dramático português como uma figura da novidade parisiense para um público que adotou o estilo e o gosto francês. Os temas estudados aqui não pretendem, porém, ser exaustivos. Além disso, a bibliografia de traduções de peças de Eugène Scribe mostra como o reconhecimento do grande dramaturgo francês foi importante em Portugal no século XIX. Além das fronteiras do nosso país, um certo número de autores traduziram Eugène Scribe, como constatamos na quarta parte do nosso estudo, onde analisámos a projeção dramática do sistema scribiano no estrangeiro. No fundo, evidenciámos, com o nosso trabalho, o impacto que as representações teatrais das suas peças e o desenvolvimento de um novo sistema dramático tiveram em vários países da Europa. Na verdade, é certo que, devido a esta influência manifesta devemos ao teatro scribiano a idade de ouro da ópera cómica em Portugal daquele tempo. Com efeito, a efervescência em torno da importação e da integração da realidade literária e cultural francesa na nossa cultura é devida, em grande parte, à popularidade do teatro de Boulevard, modalidade em que Eugène Scribe ocupou um lugar de destaque. Os próprios repertórios dos teatros lisboetas, durante a primeira metade do século XIX, são um excelente exemplo da fortuna literária e teatral de Eugène Scribe que foi amplamente representado, traduzido, adaptado e glosado em Portugal. Os dados condensados na base de dados que elaborámos ao longo da nossa investigação e que apresentámos num dos anexos do volume 2 desta dissertação de Doutoramento traduzem, por si só, essa dimensão cultural. Em suma: através da pesquisa que aqui levámos a cabo, bem como das discussões derivadas da mesma, acreditamos ter elaborado um estudo profícuo para a aprendizagem e reflexão científicas em torno da área da dramaturgia e da receção de um dos autores franceses do século XIX com maior projeção na Europa. Esperamos, por isso, ter contribuído um pouco para um conhecimento mais acentuado da nossa cultura teatral oitocentista e da cultura literária e teatral francesas em Portugal nesse período.

The Irish playwright Samuel Beckett has long been known for his indefatigable spirit of irreverence in the face of many of Western society's most cherished institutions and hallowed belief systems. Yet his consistent reverence for one particular bastion of Western culture remains a lesser known fact: that of popular stage and screen entertainment. This thesis explores the ways in which Beckett interlards Waiting for Godot with a selection of thematic motifs and comic conventions culled from the English music-hall, American vaudeville, circus clowning and, finally, early screen comedy in order to present us with a vision of the human condition that is as universal as it is devastatingly comical or, for that matter, comically devastating. Special attention is paid to Beckett's deployment and/or adaptation of: (a) the "multi-sensory" language of the clown of 'low' comedy; (b) vaudeville and the music-hall's self-referential stage and stage-world; (c) the popular, "shifty" tramp-clown figure of stage and screen, and (d) the comic 'double-act' of the music-hall, vaudeville and circus--each of which serves to underline the bafflingly complex nature of human experience in a universe characterized by radical indeterminacy.

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.

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.

The lyrics of Sammy Cahn played a dominant role in shaping the Golden Age of American light music. He remains the most successful lyricist in cinema history, in terms of Academy Awards and Nominations, yet he has received little acclaim for his achievements. This thesis explores the diverse constituents of his creative genius, focusing on his ability to “romance the vernacular”, and write “bespoke” material on request. The argument follows a chronological path, tracing the major influences on Cahn’s life: vaudeville and musical theatre, the growth of the film industry, and the collaborators and performers who helped him achieve a level of mastery that he sustained for nearly fifty years. Particular emphasis is placed on his relationship with Frank Sinatra, on both a personal and professional level. Cahn had an acute awareness of the human condition and his ability to convey a range of emotions to match mood and moment displayed consummate craft and intellect, with a self-confidence that bordered on bravado. His contemporaries in the Golden Age of popular song have received due recognition, yet little has been written about Cahn, whose appreciation of the interaction between spontaneity and creativity remains unsurpassed by fellow lyricists. He had an intuitive understanding of the vernacular and an instinctive ability to write to order. The imagistic texture of the lyrics coupled with the prosodic intonation demonstrate an intimate correlation between personality and composition which is supported by biographical content. The argument, augmented by an audio-documentary, develops systematically through a study of the lyrics, focusing on the cultural and musicological significance of Cahn’s oeuvre. The material for both the written text and the two accompanying CDs are from personal archives and the Margaret Herrick Library in Los Angeles, which is the repository for the Sammy Cahn Collection, bequeathed to that institution after the death of Cahn in 1993.
English Studies
D. Litt. et Phil. (English)