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New Vaudeville: Variety artists in t...

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New Vaudeville: Variety artists in the contemporary American theater.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	New Vaudeville: Variety artists in the contemporary American theater./
作者:	Harrison, Mark.
面頁冊數:	321 p.
附註:	Source: Dissertation Abstracts International, Volume: 51-04, Section: A, page: 1049.
Contained By:	Dissertation Abstracts International51-04A.
標題:	American Studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9016270

New Vaudeville: Variety artists in the contemporary American theater.
Harrison, Mark.

New Vaudeville: Variety artists in the contemporary American theater. - 321 p.

Source: Dissertation Abstracts International, Volume: 51-04, Section: A, page: 1049.

Thesis (Ph.D.)--New York University, 1989.

The term "New Vaudeville" entered the American language in the early 1980s as an all-encompassing term for virtually any specialty act employing popular skills, such as juggling, magic, puppetry, fire-breathing, rope walking, and clowning. This study focuses on the heart of New Vaudeville--performers who have moved from popular venues into the theater, who have most successfully integrated variety skills with conceptually unified theatrical forms, and who have played primary roles in the writing, direction and production of the works they have presented. The artists whose work is discussed include Bill Irwin, Avner "the Eccentric" Eisenberg, Geoff Hoyle, "Alchemedians" Bob Berky and Michael Moschen, Penn and Teller, and the Flying Karamazov Brothers.Subjects--Topical Terms:

1017604
American Studies.

New Vaudeville: Variety artists in the contemporary American theater.
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500 $a Source: Dissertation Abstracts International, Volume: 51-04, Section: A, page: 1049.
500 $a Supervisor: Brooks McNamara.
502 $a Thesis (Ph.D.)--New York University, 1989.
520 $a The term "New Vaudeville" entered the American language in the early 1980s as an all-encompassing term for virtually any specialty act employing popular skills, such as juggling, magic, puppetry, fire-breathing, rope walking, and clowning. This study focuses on the heart of New Vaudeville--performers who have moved from popular venues into the theater, who have most successfully integrated variety skills with conceptually unified theatrical forms, and who have played primary roles in the writing, direction and production of the works they have presented. The artists whose work is discussed include Bill Irwin, Avner "the Eccentric" Eisenberg, Geoff Hoyle, "Alchemedians" Bob Berky and Michael Moschen, Penn and Teller, and the Flying Karamazov Brothers.
520 $a As in vaudeville and circus, comedy and virtuosity seem to reign supreme with these performers. Their work is self-generating, individualized and highly physical; astonishment and laughter exist side by side, and performances often depend on unusual forms of audience involvement. Unlike traditional variety forms, however, these New Vaudevillians have used popular skills as a means of defining character, expressing emotions and illuminating ideas.
520 $a Chapter One examines the history of New Vaudeville from its earliest roots in street performance and commedia dell'arte to more contemporary influences, which include theatrical innovators such as Brecht and Beckett; silent film and television (cartoons, variety shows and situation comedies); experimental theater and popular performance of the sixties and seventies, ranging from the Bread and Puppet Theatre and the San Francisco Mime Troupe to Renaissance fairs, mime and dance festivals, clown college and single-ring circuses. The body of the dissertation (Chapters Two through Seven) concentrates on the major artists of New Vaudeville mentioned earlier--their histories, theories, techniques and productions.
520 $a For the majority of the artists in this study, New Vaudeville began as a hobby or as a survival technique. The movement blossomed in the late sixties and early seventies and still reflects a kind of "on-the-road" philosophy. Today it has grown into a unique synthesis of traditional skills, physical comedy and contemporary theatrical theory.
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