Vaudville (10 results)

Condition: New. pp. 156.

Hardcover. Condition: New. ISBN:9788120801851 N.A.

Condition: New. pp. 156.

Condition: New. pp. 156.

Condition: New. pp. 156.

Condition: New. pp. 156.

Condition: New. pp. 156.

Hardcover. Condition: Fine. Dust Jacket Condition: Very Good. xiv, 139 pages ; 23 cm. Texts of songs in various Indic languages (Devanagari); translation in English.

One large sheet of orange paper, folded to 57 x 41.5 cm., [2] leaves. Light soiling, old fold lines with a few small breaks along folds, some chipping and closed tears to margins. Images of the two promoters appear on the first leaf, visual image of the tent on the verso of the second leaf. Primrose and Dockstader offered "a Perfect Stage Performance in their Mammoth Canvas Theatre" on Tuesday, May 8, Rain or Shine. Two other vignettes span the inside pages showing the inside of the tent, capable of seating 3000, and the "Great NoonDay Parade" outside the tent. Promotional material and a list of performers is also included. Primrose and Dockstader operated their minstrel company together from 1898-1904.…

Female vaudeville, burlesque, dance, and showgirl photo archive, circa 1900 to 1957, documenting the changing public presentation of women's sexuality and performance across more than half a century of American popular entertainment. The photographs follow female performers from turn of the century theatrical portraiture through burlesque and revue culture to the increasingly revealing costumes and highly controlled publicity imagery of the midcentury showgirl. Performers appear not simply as models but as professional entertainers whose costumes, poses, bodies, and theatrical personas were reproduced for audiences beyond the theaters in which they worked. Images associated with "Earl Carroll's Vanities," "The Redheads," and a "Las Vegas Show Girl" connect the group to the commercial entertainment culture that transformed the female stage performer into a widely circulated figure of glamour and sexuality. Photo archive of 25 photographs and postcards, comprising two large silver gelatin publicity photographs and 23 real photo and lithographic postcards, ranging from approximately 3.5 x 5 to 8 x 10 inches, circa 1900 to 1957. The earliest images present women in the visual vocabulary of vaudeville and theatrical studio portraiture, posed in elaborate dresses, fringed costumes, stockings, dance attire, and increasingly abbreviated stage clothing. An early photographic postcard depicts a performer identified in the image as "No. 19 Ramus," while a studio portrait inscribed "1927 'Dimples'" shows its subject in a beaded and fringed theatrical costume. Other postcards present dancers in feathered headdresses, bathing and chorus costumes, theatrical gowns, and poses emphasizing legs, movement, and bodily display. Later lithographic cards explicitly identify the worlds into which this imagery developed, including "Earl Carroll's Vanities" and "Las Vegas Show Girl." The two large silver gelatin publicity photographs bring the sequence into midcentury professional entertainment promotion. One portrays three women identified as "The Redheads" in coordinated costumes, fishnet stockings, heels, and towering feathered headpieces; another presents Barbara Nichols in the 1957 Columbia film "Pal Joey" as the showgirl Gladys. The archive spans the transformation of an entertainment in which vaudeville, musical revue, burlesque, nightclub performance, Hollywood publicity, and eventually the Las Vegas showgirl repeatedly redefined the boundaries of permissible female display. Burlesque made striptease and teasing revelation increasingly central to its twentieth century identity, while large scale revues such as Earl Carroll's productions turned elaborate costuming and the display of female bodies into defining components of theatrical spectacle. By the postwar period, the same visual vocabulary had moved across nightclub entertainment and pinup culture to television entertainment and celebrity. The sequence records changes in fashion and permissible exposure while preserving a striking continuity in the performer's control of pose, costume, gesture, and theatrical persona, locating midcentury showgirl culture within a much longer history of women making public careers from dance, glamour, comedy, spectacle, and sexual display. Light to moderate handling wear, toning, occasional creasing, edge wear, and scattered surface marks, with some early postcards showing greater age related wear; publicity photographs remain well defined. Overall in very good condition. A half century visual record of the female entertainer as vaudeville performer, dancer, burlesque artist, chorus girl, glamour figure, and showgirl, tracing the theatrical and commercial forms through which women's public sexual presentation entered American mass culture. Signed.…