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- W4310362691 abstract "The spectacle of the human body was a central dimension of popular entertainment in the decades surrounding the turn of the twentieth century, and the US American and European musical theatre was no exception. Advancing increasingly bold and sensuous displays of the human body, musical theatre both reflected and shaped shifting social mores. The idealized human body was central to the production and marketing of genres such as the musical revue, as exemplified by the Belle Époque appearance of French performer-courtesans, such as Émilienne d’Alençon and La Belle Otero, as objects of commoditized female spectacle in the pantomime-ballets and revues of the Folies Bergère. In Tillie’s Nightmare (1910), Marie Dressler conjured the trend of appetitive and grotesque bodies in musical comedy, using feminine spectacle and physical comedy transgressing the boundaries of refined True Womanhood. African American artists also made vital contributions to pre-World War I musical theatre as they reclaimed the “expressive black body” in response to blackface minstrelsy’s grotesque distortions. Bandanna Land (1908), in particular, showcased Aida Overton Walker’s versatile mastery of popular and aesthetic dance, exemplified by her and George Walker’s cakewalk-infused transformation of “The Merry Widow Waltz.”" @default.
- W4310362691 created "2022-12-09" @default.
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- W4310362691 date "2022-11-29" @default.
- W4310362691 modified "2023-09-24" @default.
- W4310362691 title "From the 1870s Through World War I" @default.
- W4310362691 doi "https://doi.org/10.4324/9780429260247-12" @default.
- W4310362691 hasPublicationYear "2022" @default.
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