FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W3004444627> ?p ?o ?g. }

• W3004444627 endingPage "208" @default.
• W3004444627 startingPage "199" @default.
• W3004444627 abstract "Inventing the TrampThe Early Tramp Comic on the Variety Stage Michelle Granshaw (bio) In their tattered clothes and grotesque makeup, well over a hundred comic tramps staggered across the US vaudeville stage at the turn of the twentieth century.1 One of the most popular stage types in vaudeville, comic tramps sang, recited monologues, juggled, rode bicycles, and performed in sketches.2 Although these comic figures are well known in theatre history, to date, the variety theatre's distinctive role in the tramp's performance history remains unrecognized. Two decades before the widely popular vaudeville comic tramp, the figure first stepped onto the variety stage at the moment of the tramp's cultural invention. Until the 1870s, the word tramp existed primarily as a verb in the American lexicon and referred to a long walk or march. When tramp emerged as a noun in the wake of the Panic of 1873, it resulted from a collective effort to understand and contain the mobile spectacle of unemployed men traveling across the country.3 In performance, American and European actors have performed variations on comic vagrants and beggars for hundreds of years, notably in commedia dell'arte, the circus, and minstrelsy.4 However, tramps distinguished themselves from their predecessors onstage and in American culture through their scale and exceptional mobility, which reflected the extent of the economic distress caused by the Panic as well as improvements in transportation, such as the railroad. Transformations in mobility captured the popular imagination and offered variety theatre a way to appeal to their audience's fears and fantasies that accompanied the rapid economic and social changes sweeping through the country. Playing for primarily a working-class audience at a time when first-class variety theatres increasingly succeeded at drawing more middle-class audience members, [End Page 199] the variety stage comic tramp reflected tensions between the negative caricature in the dominant imagination and the more sympathetic connotations rooted in working-class experience. The early comic tramp of the variety stage reflected the nation's complicated racial, ethnic, gendered, and classed power dynamics that determined who had the privilege, permission, and safety to move throughout the country. In the 1870s, the range of comic tramps illustrates the instability of the tramp figure and the struggle over its meaning. The earliest comic tramps, performed primarily as stage Irish or in blackface, were almost indistinguishable. Aside from reflecting the popularity of Irish and blackface characters on the variety stage, Irish and blackface racial and ethnic comedy created a visual vocabulary that offered a quickly recognizable stand-in for the seemingly invisible crime of lacking means of work. As the decade progressed, performers portrayed the most popular comic tramps as Irish, aligning mobility with whiteness and turning the comic tramp into a performance of racial privilege, even for immigrant and ethnic groups who faced staunch prejudice. Through the comic tramp's transformation in the 1870s, the comic tramp became a site of cultural spin and the rapidly realigning racial hierarchies of the nation after the Civil War. The increasing popularity of the Irish comic tramp demonstrated the North's limited ability to imagine freedom of mobility for black Americans. The Irish tramp, by contrast, may have reflected many negative characteristics, including his wandering nature, his unemployment, and his drinking, but he also showed that the Irish comic tramp could be part of a community and in some instances, even a hero. The Tramp in the Dominant Imagination During the economic depression of the 1870s, when mobile, unemployed strangers wandered through towns and cities across the country, people grew anxious over their inability to distinguish between who was unemployed and genuinely searching for work and who was idle and potentially a threat to people and property.5 The figure of the tramp provided new possibilities for navigating these fears. The emerging image of the tramp in the dominant imagination, especially in the North, focused on an excessively mobile, idle, drunk, and potentially violent man, typically white. Reformers' construction of the tramp demonstrates how they conceived of the mobile unemployed—not as victims of the industrial economy but as criminals. This classification resulted not from any specific acts but from individual..." @default.
• W3004444627 created "2020-02-14" @default.
• W3004444627 creator A5083927196 @default.
• W3004444627 date "2019-01-01" @default.
• W3004444627 modified "2023-10-17" @default.
• W3004444627 title "Inventing the Tramp: The Early Tramp Comic on the Variety Stage" @default.
• W3004444627 cites W2903787772 @default.
• W3004444627 cites W3127083161 @default.
• W3004444627 doi "https://doi.org/10.1353/ths.2019.0011" @default.
• W3004444627 hasPublicationYear "2019" @default.
• W3004444627 type Work @default.
• W3004444627 sameAs 3004444627 @default.
• W3004444627 citedByCount "0" @default.
• W3004444627 crossrefType "journal-article" @default.
• W3004444627 hasAuthorship W3004444627A5083927196 @default.
• W3004444627 hasConcept C121608353 @default.
• W3004444627 hasConcept C124952713 @default.
• W3004444627 hasConcept C126322002 @default.
• W3004444627 hasConcept C136197465 @default.
• W3004444627 hasConcept C142362112 @default.
• W3004444627 hasConcept C154945302 @default.
• W3004444627 hasConcept C17744445 @default.
• W3004444627 hasConcept C199539241 @default.
• W3004444627 hasConcept C2776235491 @default.
• W3004444627 hasConcept C2779742141 @default.
• W3004444627 hasConcept C2780458788 @default.
• W3004444627 hasConcept C2780940892 @default.
• W3004444627 hasConcept C41008148 @default.
• W3004444627 hasConcept C52119013 @default.
• W3004444627 hasConcept C529099274 @default.
• W3004444627 hasConcept C71924100 @default.
• W3004444627 hasConcept C95457728 @default.
• W3004444627 hasConcept C96089941 @default.
• W3004444627 hasConceptScore W3004444627C121608353 @default.
• W3004444627 hasConceptScore W3004444627C124952713 @default.
• W3004444627 hasConceptScore W3004444627C126322002 @default.
• W3004444627 hasConceptScore W3004444627C136197465 @default.
• W3004444627 hasConceptScore W3004444627C142362112 @default.
• W3004444627 hasConceptScore W3004444627C154945302 @default.
• W3004444627 hasConceptScore W3004444627C17744445 @default.
• W3004444627 hasConceptScore W3004444627C199539241 @default.
• W3004444627 hasConceptScore W3004444627C2776235491 @default.
• W3004444627 hasConceptScore W3004444627C2779742141 @default.
• W3004444627 hasConceptScore W3004444627C2780458788 @default.
• W3004444627 hasConceptScore W3004444627C2780940892 @default.
• W3004444627 hasConceptScore W3004444627C41008148 @default.
• W3004444627 hasConceptScore W3004444627C52119013 @default.
• W3004444627 hasConceptScore W3004444627C529099274 @default.
• W3004444627 hasConceptScore W3004444627C71924100 @default.
• W3004444627 hasConceptScore W3004444627C95457728 @default.
• W3004444627 hasConceptScore W3004444627C96089941 @default.
• W3004444627 hasIssue "1" @default.
• W3004444627 hasLocation W30044446271 @default.
• W3004444627 hasOpenAccess W3004444627 @default.
• W3004444627 hasPrimaryLocation W30044446271 @default.
• W3004444627 hasRelatedWork W2037883381 @default.
• W3004444627 hasRelatedWork W2045354634 @default.
• W3004444627 hasRelatedWork W2300531162 @default.
• W3004444627 hasRelatedWork W2471196404 @default.
• W3004444627 hasRelatedWork W2494535952 @default.
• W3004444627 hasRelatedWork W2598727440 @default.
• W3004444627 hasRelatedWork W2748952813 @default.
• W3004444627 hasRelatedWork W2804861026 @default.
• W3004444627 hasRelatedWork W4245309537 @default.
• W3004444627 hasRelatedWork W563691679 @default.
• W3004444627 hasVolume "38" @default.
• W3004444627 isParatext "false" @default.
• W3004444627 isRetracted "false" @default.
• W3004444627 magId "3004444627" @default.
• W3004444627 workType "article" @default.