Готові списки джерел за темами / Vaudeville

Добірка наукової літератури з теми "Vaudeville"

Автор: Grafiati
Опубліковано: 4 червня 2021
Оновлено: 29 липня 2024

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Статті в журналах з теми "Vaudeville"

1

Harmon, Jenna. "“It Is No Longer in Fashion—More's the Pity”." French Historical Studies 45, no. 2 (April 1, 2022): 219–43. http://dx.doi.org/10.1215/00161071-9531968.

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Abstract In a collected edition of his works, Charles Collé declared that “the vaudeville is thoroughly dead,” “killed off” by the latest fad on Parisian stages, the ariette. However, this narrative is in tension with the appearance of vaudevilles across many forms of print media to the end of the eighteenth century. As a result, the print record presents a narrative different from the long-standing trope of the moribund vaudeville in the latter half of the eighteenth century. This article proposes that the story of the vaudeville's demise is actually the effect of a simple but crucial conflation of two distinct song practices, both referred to as “vaudevilles,” and traces this conflation to eighteenth-century musical dictionaries. Finally, it examines extratheatrical vaudevilles in novels, newspapers, and political songbooks, showing that the genre maintained relevancy in spite of narratives to the contrary. Au XVIIIe siècle, Charles Collé a déclaré que « le vaudeville est aujourd'hui totalement tombé », « tué » par le genre musical actuellement à la mode à Paris, l'ariette. Pourtant, cette affirmation est démentie par la présence des vaudevilles dans la culture de l'imprimé pendant la deuxième moitié du XVIIIe, et même les premières années du XIXe siècle. Les sources imprimées nous proposent donc une histoire différente de celle qui décrit un vaudeville moribond au milieu du XVIIIe siècle. Cet article affirme que l'histoire de la mort prématurée du vaudeville est l'effet d'une confusion simple mais cruciale entre deux pratiques chansonnières distinctes, mais également appelées « vaudeville ». Les origines de cette confusion remontent aux dictionnaires musicaux du XVIIIe siècle. Finalement, cet article examine le rôle des vaudevilles extra-théâtraux dans les romans, les journaux, et les chansonniers politiques pour démontrer que le vaudeville a conservé son intérêt malgré les rumeurs de sa mort.
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2

Best, Janice. "Le vaudeville sous la Deuxième République : une arène ouverte aux passions politiques ?" Voix Plurielles 14, no. 2 (December 9, 2017): 35–49. http://dx.doi.org/10.26522/vp.v14i2.1639.

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Lorsqu’on supprima la censure en 1848, on assista à un foisonnement de pièces à sujet politique, notamment au théâtre du Vaudeville. Ces satires politiques connurent d’importants succès, soulignant le rôle du vaudeville comme miroir parodique de la société. Les commentaires politiques ne disparurent pas lorsque la censure fut restaurée en 1850, mais furent l’objet d’une attention accrue de la part des autorités. Dans cet article, je compare trois vaudevilles joués pendant la période de liberté d’expression avec trois autres pièces jouées après 1850 afin de souligner le rôle de contestation politique qui est propre au vaudeville.
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3

Prou, Fanny. "Le vaudeville dans les nouvelles formes théâtrales foraines : privilège et censure." Voix Plurielles 14, no. 2 (December 9, 2017): 4–18. http://dx.doi.org/10.26522/vp.v14i2.1637.

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Dans cet article, nous proposons de réfléchir aux raisons de l’émergence du vaudeville sur les scènes foraines au dix-huitième siècle. Le vaudeville, et plus largement les pièces résultant de leur utilisation (opéra-comique ; pièce par écriteaux, etc.) naissent d’abord en réaction à une politique théâtrale ne laissant la place qu’aux grands théâtres, c’est-à-dire à l’Opéra, la Comédie-Française et la Comédie Italienne. Nous réfléchirons dans un premier temps à une définition du vaudeville tel qu’il est utilisé sur les théâtres de la Foire dans la première moitié du siècle, puis nous nous intéresserons de façon plus concrète à leur utilisation dans des pièces du répertoire forain : nous proposerons pour cela une analyse de deux pièces en vaudevilles : Momus censeur des théâtres, pièce métathéâtrale de Bailly et La Rose de Piron, censurée pour sa grivoiserie.
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4

Romey, John. "Songs That Run in the Streets." Journal of Musicology 37, no. 4 (2020): 415–58. http://dx.doi.org/10.1525/jm.2020.37.4.415.

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In the second decade of the eighteenth century, the Parisian théâtres de la foire (fairground theaters) gave birth to French comic opera with the inception of the genre known as comédie en vaudevilles (sung vaudevilles interspersed between spoken dialogue). Vaudevilles were popular songs that “ran in the streets” and served as vessels for new texts that transmitted the latest news, scandals, and gossip around the city. Already in the seventeenth century, however, the Comédie-Italienne, the royally funded troupe charged with performing commedia dell’arte, began to create spectacles that incorporated street songs from the urban soundscape. In the late seventeenth century all three official theaters—the Comédie-Italienne, the Comédie-Française, and the Opéra—also infused the streets with new tunes that transformed into vaudevilles. This article explores the contribution of the nonoperatic theaters—the Comédie-Française and the Comédie-Italienne—to the vaudeville repertoire to show the ways in which theatrical spectacle shaped a thriving popular song tradition. I argue that because most theatrical finales were structured around many repetitions of a catchy strophic tune to which each actor or actress sang one or more verses, a newly composed tune used as a finale had an increased probability of transforming into a vaudeville. Some of the vaudevilles used in early eighteenth-century comic operas therefore originated in newly composed divertissements for the late seventeenth-century plays presented at the nonoperatic theaters. Other vaudevilles began as airs from operas that were also absorbed into the tradition of street song. By the early eighteenth century, fairground spectacles drew from a dynamic repertory of vaudevilles amalgamated from the most voguish tunes circulating in the city. The intertwined relationship of the popular song tradition and theatrical spectacle suggests that the theaters helped to mold the corpus of vaudevilles available to street singers, composers, and playwrights.
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5

Woods, Leigh. "Two-a-Day Redemptions and Truncated Camilles: the Vaudeville Repertoire of Sarah Bernhardt." New Theatre Quarterly 10, no. 37 (February 1994): 11–23. http://dx.doi.org/10.1017/s0266464x0000004x.

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American vaudeville welcomed a host of important stage actors into its midst during the generation between the mid-1890s and the end of the First World War, and in 1912, following appearances in British music halls, Sarah Bernhardt became vaudeville's centrepiece in its own war with the legitimate theatre for audience and status. By way of exchange, she received the highest salary ever paid to a ‘headlined’ vaudeville act, while performing a repertoire from which she was able to exclude the sort of light entertainment which had previously typified the medium. Both vaudeville and Bernhardt profited, in very different ways, from this wedding of high culture to low – and in the process a cultural standing seems to have attached itself to exhibitions of pain which legitimised the lot of the morally deviant women she both portrayed and exemplified. Leigh Woods, Head of Theatre Studies at the University of Michigan, explores the ways in which the great actress thus maintained a demand for her services well after the eclipse of her legendary beauty and matchless movement.
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6

Milchina, Vera A. "1817: Parisian Everyday Life in Vaudeville and in the Novel." LITERARY FACT, no. 1 (27) (2023): 131–56. http://dx.doi.org/10.22455/2541-8297-2023-27-131-156.

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The article deals with two reflections of the everyday life of Paris in 1817: in the vaudevilles “Living Calendar” and “Battle of the Mountains,” composed and staged exactly in this year, and in Victor Hugo’s novel Les Misérables, which was published in 1862. The whole chapter of the novel is devoted to listing the heterogeneous and petty facts of the daily life of Paris in 1817. It turns out that the optics of direct observers (half-forgotten vaudeville artists) and the famous novelist, who described events after four decades, differ very much. The everyday life of vaudeville and the everyday life of the novel present two different images, although they are dated by the same 1817. Hugo tries to simulate everyday trivia of 1817, but in fact he paints an extremely subjective and biased picture by increasing dates and facts blunders and diligently looking for such details that can compromise the Bourbon Restoration era as much as possible. We can hardly judge what trivia really interested the people of 1817 from the chapter “1817.” We could learn much more about it from the ephemeral vaudevilles, since they had captured a picture of everyday life in 1817 on fresh tracks. Hugo does not say a word about the clever dog Munito, the opening of the special storage chambers for canes in theatres, the appearing of new social type clerks-“calicos” etc., but forgotten vaudevilles remind of that.
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7

Johnston, Joyce Carlton. "Taking Humour Seriously: Women and the Theatre of Virginie Ancelot." Nottingham French Studies 53, no. 3 (December 2014): 267–84. http://dx.doi.org/10.3366/nfs.2014.0092.

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With twenty-one single-authored plays staged at Paris’ premier theatres during the 1830s and 1840s, Virgine Ancelot produced more theatrical works than any other French woman dramatist of the period. Despite her success, Ancelot's comedies and vaudevilles have received little critical attention. Contrary to the light façade common throughout much of her theatrical work, Ancelot's plays underscore the inequality and injustices experienced by women of her time. Her use of humour to simultaneously conceal and accentuate her attacks within the most public of literary genres indicates that a reconsideration of Ancelot's theatre is overdue. This study illuminates the simultaneous evolution of Ancelot's humour and her desire to pinpoint inequities surrounding the feminine condition through an examination of some of her most successful theatrical works: Le Château de ma nièce (1837 – Théâtre français), L'Hôtel de Rambouillet (1842 – Théâtre du Vaudeville) and Follette (1844 – Théâtre du Vaudeville).
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Woodside, Mary S. "Reflections in an Eastern Mirror, or Performance of a French Vaudeville in Russia." Canadian University Music Review 23, no. 1-2 (March 6, 2013): 84–108. http://dx.doi.org/10.7202/1014519ar.

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Exceedingly popular in their day, Russian vaudevilles and opera-vaudevilles of the first third of the nineteenth century are not available in modern orchestral scores. Although many of these musical comedies are known to be adapted from French works, for the most part the original French titles are unknown, as are the differences in French and Russian treatments of musical numbers. Focussing primarily on Pisarev's Babushkiny popugai [Grandma's Parrots] (St. Petersburg, 1819), this article compares the original French vaudeville with its Russian adaptation on several points: libretto, performance venues, and musical treatment, the latter based in part on manuscript sources of Alexei N. Verstovsky's orchestral scores.
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Woods, Leigh. "Blue Vaudeville: Sex, Morals and the Mass Marketing of Amusement, 1895–1915. By Andrew L. Erdman. Jefferson, NC: McFarland, 2004; pp. 198. $39.95 cloth." Theatre Survey 46, no. 1 (May 2005): 132–34. http://dx.doi.org/10.1017/s0040557405240097.

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Vaudeville makes a sprawling subject. Under the social and commercial shocks that swirled around it, vaudeville could scarcely afford to be more innocent than it needed to be. In Blue Vaudeville, Andrew Erdman follows a single, generally naughty-but-nice strand within the huge volume of vaudeville performance.
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Hodin, Mark. "Class, Consumption, and Ethnic Performance in Vaudeville." Prospects 22 (October 1997): 193–210. http://dx.doi.org/10.1017/s0361233300000107.

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During the last decade of the 19th century, vaudeville became the nation's most popular entertainment form, drawing unprecedented numbers of spectators and appealing to members of diverse socioeconomic groups by staging a rapid succession of acrobats, comedians, legitimate theater stars, pet-tricks, and dramatic sketches. In a cultural scene that Lawrence Levine and others tell us was marked by the historical separation between legitimate and mass cultural practices, critical observers (then and since) have greeted the diversity of vaudeville's audience and the range of its performance with a mixture of surprise and liberal enthusiasm.
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Дисертації з теми "Vaudeville"

1

Anderson, Evan. "Vaudeville: A How to Guide." VCU Scholars Compass, 2010. http://scholarscompass.vcu.edu/etd/116.

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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.
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2

Muller, Mary Patricia. "Vaudeville and Bellow together at last /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 80 p, 2007. http://proquest.umi.com/pqdweb?did=1410678761&sid=10&Fmt=2&clientId=8331&RQT=309&VName=PQD.

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3

Mooney, Jennifer. "The Irish in vaudeville and early American cinema : 1865 - 1905." Thesis, Ulster University, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.646355.

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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
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4

Hauser, Mark. "Vaudeville, Popular Entertainment and Cultural Division in the Inland Empire, 1880-1914." Scholarship @ Claremont, 2013. http://scholarship.claremont.edu/cgu_etd/78.

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Анотація:
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.
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5

Williams, Carl Glenwood. "No Sleep 'til Minsky's: A One-Man Tribute to Burlesque and Vaudeville." Digital Commons @ East Tennessee State University, 2007. https://dc.etsu.edu/etd/2099.

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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.
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6

Squire, Emma M. "Reexamining American Vaudeville: Male Impersonation, Baby Jane Hudson, and The Large Butch Crooner." Miami University / OhioLINK, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=miami1469017910.

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7

Chahine, Loïc. "Louis Fuzelier, le théâtre et la pratique du vaudeville : établissement et jalons d'analyse d'un corpus." Nantes, 2014. http://www.theses.fr/2014NANT3039.

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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
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8

Inacio, Denise Scandarolli 1982. "Cenas esquecidas ou Vaudeville, ópera-comique e a transformação do teatro no Rio de Janeiro, dos anos de 1840 = Scénes négligés ou Vaudeville, ópera-comique et la transformation du théâtre à Rio de Janeiro dnas les annéss 1840." [s.n.], 2013. http://repositorio.unicamp.br/jspui/handle/REPOSIP/280278.

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Анотація:
Orientadores: Edgar Salvadori de Decca, Raphaelle Legrand
Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas
Made available in DSpace on 2018-08-23T02:09:49Z (GMT). No. of bitstreams: 1 Inacio_DeniseScandarolli_D.pdf: 2793606 bytes, checksum: 011827e909f7e020655b8406892c6003 (MD5) Previous issue date: 2013
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
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9

Carvalho, Maria Lúcia da Silva Oliveira. "A II Guerra Mundial no teatro de revista português (1939-1945)." Master's thesis, Instituições portuguesas -- UL-Universidade de Lisboa -- -Faculdade de Letras -- -Departamento de História, 1995. http://dited.bn.pt:80/30210.

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10

Herget, Danielle. "The vaudeville wars : William Morris, E. F. Albee, the White Rats, and the business of entertainment, 1898-1932 /." Thesis, Connect to Dissertations & Theses @ Tufts University, 2004.

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Анотація:
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;
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Книги з теми "Vaudeville"

1

Wertheim, Arthur Frank. Vaudeville Wars. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4.

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2

Anthony, Slide, ed. Selected vaudeville criticism. Metuchen, N.J: Scarecrow Press, 1988.

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3

Slide, Anthony. The encyclopedia of vaudeville. Jackson: University Press of Mississippi, 2012.

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4

Ross, Stuart. Our days in vaudeville. Toronto, Ontario: Mansfield Press, 2013.

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5

Marks, Brian. Where lightning dances vaudeville. Cheshire: Legacy Publications, 2002.

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6

Slide, Anthony. The encyclopedia of vaudeville. Westport, Conn: Greenwood Press, 1994.

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7

Robert, Abirached, ed. La cagnotte: Comédie-vaudeville. [Paris]: Librairie Larousse, 1990.

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1923-, Thibault Jean-Marc, and Marc Henri, eds. Laissez-nous rire. [Paris]: Lattès, 1986.

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W, Stein Charles, ed. American vaudeville as seen by its contemporaries. New York, N.Y: Da Capo Press, 1985.

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10

Fields, Armond. Tony Pastor, father of vaudeville. Jefferson, N.C: McFarland & Co., 2007.

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Більше джерел

Частини книг з теми "Vaudeville"

1

Günther, Ernst. "Vaudeville." In Handbuch Populäre Kultur, 465–66. Stuttgart: J.B. Metzler, 2003. http://dx.doi.org/10.1007/978-3-476-05001-4_101.

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2

Bradley, Patricia. "Vaudeville." In Making American Culture, 11–26. New York: Palgrave Macmillan US, 2009. http://dx.doi.org/10.1057/9780230100473_2.

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3

Grosch, Nils. "Vaudeville." In Enzyklopädie der Neuzeit, 5–6. Stuttgart: J.B. Metzler, 2011. http://dx.doi.org/10.1007/978-3-476-00063-7_3.

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4

canemaker, john. "vaudeville." In winsor mccay, 138–47. [Revised edition]. | Boca Raton : Taylor & Francis, 2018.: CRC Press, 2018. http://dx.doi.org/10.1201/b22526-6.

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5

Wertheim, Arthur Frank. "From Farm Boy to Museum Owner." In Vaudeville Wars, 3–20. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_1.

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Wertheim, Arthur Frank. "Morris Challenges the Combine." In Vaudeville Wars, 134–48. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_10.

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Wertheim, Arthur Frank. "The Vaudeville Machine." In Vaudeville Wars, 151–69. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_11.

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Wertheim, Arthur Frank. "A Host of Grievances." In Vaudeville Wars, 170–80. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_12.

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Wertheim, Arthur Frank. "Broadway Sime and the British Lion." In Vaudeville Wars, 181–93. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_13.

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Wertheim, Arthur Frank. "How Albee Stole the Palace." In Vaudeville Wars, 197–210. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1007/978-1-349-73450-4_14.

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Тези доповідей конференцій з теми "Vaudeville"

1

Kantrowitz, Arthur. "Space beyond Vaudeville." In AIP Conference Proceedings Volume 148. AIP, 1986. http://dx.doi.org/10.1063/1.36016.

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2

Heyraud, Violaine. "Feydeau, les derniers feux du vaudeville et le déclin de l’hystérie." In « L’anatomie du cœur humain n’est pas encore faite » : Littérature, psychologie, psychanalyse. Fabula, 2012. http://dx.doi.org/10.58282/colloques.1649.

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