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Imitation Artist
Gertrude Hoffmann made her name in the early twentieth century as an imitator, copying highbrow performances staged in Europe and popularizing them for a broader American audience. Born in San Francisco, Hoffmann started working as a ballet girl in pantomime spectacles during the Gay Nineties. She performed through the heyday of vaudeville and later taught dancers and choreographed nightclub revues. After her career ended, she reflected on how vaudeville’s history was represented in film and television. Drawn from extensive archival research, Imitation Artist shows how Hoffmann’s life intersected with those of central gures in twentieth-century popular culture and dance, including Florenz Ziegfeld, George M. Cohan, Isadora Duncan, and Ruth St. Denis. Sunny Stalter-Pace discusses the ways in which Hoffmann navigated the complexities of performing gender, race, and national identity at the dawn of contemporary celebrity culture. This book is essential reading for those interested in the history of theater and dance, modernism, women’s history, and copyright.
A History of the Berliner Ensemble
The first study in any language of the Berliner Ensemble, the theatre company co-founded by Bertolt Brecht.
Perestroika and the Party
Countless studies have assessed the dramatic reforms of Mikhail Gorbachev, but their analysis of the impact on European communism has focused overwhelmingly on the Soviet Union and Eastern bloc nations. This ambitious collection takes a much broader view, reconstructing and evaluating the historical trajectories of glasnost and perestroika on both sides of the Iron Curtain. Moving beyond domestic politics and foreign relations narrowly defined, the research gathered here constitutes a transnational survey of these reforms’ collective impact, showing how they were variably received and implemented, and how they shaped the prospects for “proletarian internationalism” in diverse political contexts.
Theatre Symposium, Vol. 25
Addresses the ways that theatre both shapes cross-cultural dialogue and is itself, in turn, shaped by those forces. Globalization may strike many as a phenomenon of our own historical moment, but it is truly as old as civilization: we need only look to the ancient Silk Road linking the Far East to the Mediterranean in order to find some of the earliest recorded impacts of people and goods crossing borders. Yet, in the current cultural moment, tensions are high due to increased migration, economic unpredictability, complicated acts of local and global terror, and heightened political divisions all over the world. Thus globalization seems new and a threat to our ways of life, to our nations, a...
The Complete Book of 1900s Broadway Musicals
Broadway musicals of the 1900s saw the emergence of George M. Cohan and his quintessentially American musical comedies which featured contemporary American stories, ragtime-flavored songs, and a tongue-in-cheek approach to musical comedy conventions. But when the Austrian import The Merry Widow opened in 1907, waltz-driven operettas became all the rage. In The Complete Book of 1900s Broadway Musicals, Dan Dietz surveys every single book musical that opened during the decade. Each musical has its own entry which features the following: Plot summary Cast members Creative team Song lists Opening and closing dates Number of performances Critical commentary Film adaptations, recordings, and published scripts, when applicable Numerous appendixes include a chronology of book musicals by season; chronology of revues; chronology of revivals of Gilbert and Sullivan operettas; a selected discography; filmography; published scripts; Black musicals; long and short runs; and musicals based on comic strips. The most comprehensive reference work on Broadway musicals of the 1900s, this book is an invaluable and significant resource for all scholars, historians, and fans of Broadway musicals.
Female Spectacle
When the French actress Sarah Bernhardt made her first American tour in 1880, the term feminism had not yet entered our national vocabulary. But over the course of the next half-century, a rising generation of daring actresses and comics brought a new kind of woman to center stage. Exploring and exploiting modern fantasies and fears about female roles and gender identity, these performers eschewed theatrical convention and traditional notions of womanly modesty. They created powerful images of themselves as ambitious, independent, and sexually expressive New Women. Female Spectacle reveals the theater to have been a powerful new source of cultural authority and visibility for women. Ironically, theater also provided an arena in which producers and audiences projected the uncertainties and hostilities that accompanied changing gender relations. From Bernhardt's modern methods of self-promotion to Emma Goldman's political theatrics, from the female mimics and Salome dancers to the upwardly striving chorus girl, Glenn shows us how and why theater mattered to women and argues for its pivotal role in the emergence of modern feminism.
Gale Storm
On December 31, 1939, nationwide radio audiences listened as 17-year-old Josephine Owaissa Cottle, a Texas schoolgirl, won Gateway to Hollywood's new talent competition. Her prize was a movie contract at RKO and a memorable stage name--"Gale Storm." One of the United States' most beloved entertainers, she appeared in 35 films, starred in two hit television series (one was My Little Margie) and earned a gold record for "I Hear You Knockin'." Drawing on interviews with family, friends and colleagues, this biography provides many unpublished details of her life and career. An annotated filmography encompasses Storm's time at Monogram Pictures, her roles in westerns and her appearances in classics such as It Happened on 5th Avenue. Her TV career is covered, including complete production histories and episode guides.
"Das Sicherste ist die Veränderung"
*Weitere Angaben Sonstiges: Autoren der einzelnen Beiträge: Thomas Flierl, Werner Tübke, Dieter Mann, Wolfgang Lippert, Siegfried Matthus, Annekathrin Bürger, Kurt Masur, Peter Glotz, Fred Sinowatz, Hans Modrow, Lothar Bisky, Hermann Kant u. a.
Body Knowledge
This book traces the deployment of intermedial aesthetics in the works of early twentieth-century female performers. By destabilizing medial and genre boundaries, these women created compelling and meaningful performances that negotiated turn-of-the-century American social and cultural issues.
Historical Dictionary of Vaudeville
Vaudeville, as it is commonly known today, began as a response to scandalous variety performances appealing mostly to adult, male patrons. When former minstrel performer and balladeer Tony Pastor opened the Fourteenth Street Theatre in New York in 1881, he was guided by a mission to provide family-friendly variety shows in hopes of drawing in that portion of the audience – women and children – otherwise inherently excluded from variety bills prior to 1881. There he perfected a framework for family-oriented amusements of the highest obtainable quality and style. Historical Dictionary of Vaudeville contains a chronology, an introduction, an extensive bibliography, and the dictionary section has more than 1,000 cross-referenced entries on performing artists, managers and agents, theatre facilities, and the terminology central to the history of vaudeville. This book is an excellent resource for students, researchers, and anyone wanting to know more about vaudeville.
