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| =r_1_1?s=books&ie=UTF8&qid=1445889975&sr=1-1&keywords=No+Applause-Just+Throw+Money%3A+The+Book+That+Made+Vaudeville+Famous#reader_0865479585| subscription=yes}}</ref> | |||
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| }}</ref> | |||
| Coupled with their historical presence on the English stage for comic relief,<ref name=":0" /> and as operators and actors of the vaudeville stage, Irish Americans became interpreters of immigrant cultural images in American popular culture. New arrivals found their ethnic group status defined within the immigrant population and in their new country as a whole by the Irish on stage.<ref>{{Cite book | |||
| | title = The New York Irish | |||
| | last = Bayor | |||
| | first = Ronald | |||
| | publisher = Johns Hopkins University Press | |||
| | year = 1996 | |||
| | isbn = | |||
| | location = Baltimore, Maryland | |||
| | pages = 143–145 | |||
| }}</ref> Unfortunately, the same interactions between ethnic groups within the close living conditions of cities also created racial tensions which were reflected in vaudeville. Conflict between Irish and African Americans saw the promotion of black-face ] on the stage, purposefully used to place African Americans beneath the Irish in the racial and social urban hierarchy.<ref>{{Cite book | |||
| | title = The Irish Way: Becoming American in the Multi-Ethnic City | |||
| | last = Barrett | |||
| | first = James | |||
| | publisher = The Penguin Press | |||
| | year = 2012 | |||
| | isbn = | |||
| | location = New York | |||
| | pages = 159 | |||
| }}</ref> | |||
| Although the Irish had a strong Celtic presence in vaudeville and in the promotion of ethnic stereotypes, the ethnic groups that they were characterizing also utilized the same humor. As the Irish donned their ethnic costumes, groups such as the Chinese, Italians, Germans and Jews utilized ethnic caricatures to understand themselves as well as the Irish.<ref name=":1">{{Cite book | |||
| | title = The Irish Way: Becoming American in the Multi-Ethnic City | |||
| | last = Barrett | |||
| | first = James | |||
| | publisher = The Penguin Press | |||
| | year = 2012 | |||
| | isbn = | |||
| | location = New York | |||
| | pages = 166–167 | |||
| }}</ref> The urban diversity within the vaudeville stage and audience also reflected their societal status, with the working class constituting 2/3 of the typical vaudeville audience.<ref name=":1" /> | |||
| The ethnic caricatures that now comprised ] reflected the positive and negative interactions between ethnic groups in America's cities. The caricatures served as a method of understanding different groups and their societal positions within their cities.<ref name=":1" /> The use of the greenhorn immigrant for comedic effect showcased how immigrants were viewed as new arrivals, but also what they could aspire to be. In addition to interpreting visual ethnic caricatures, the Irish American ideal of transitioning from the shanty<ref>{{Cite book | |||
| | title = The Irish Way: Becoming American in the Multi-Ethnic City | |||
| | last = Barrett | |||
| | first = James | |||
| | publisher = The Penguin Press | |||
| | year = 2012 | |||
| | isbn = | |||
| | location = New York | |||
| | pages = 108 | |||
| }}</ref> to the lace curtain<ref name="Wittke 1952"/> became a model of economic upward mobility for immigrant groups. | |||
| ==Decline== | |||
| The continued growth of the lower-priced cinema in the early 1910s dealt the heaviest blow to vaudeville. This was similar to the advent of free broadcast ]'s diminishing the cultural and economic strength of the cinema. Cinema was first regularly commercially presented in the US in vaudeville halls. The first public showing of movies projected on a screen took place at ] in 1896. Lured by greater salaries and less arduous working conditions, many performers and personalities, such as ], ], ], ], the ], ], ], ], ], ], and ], used the prominence gained in live variety performance to vault into the new medium of cinema. In doing so, such performers often exhausted in a few moments of screen time the novelty of an act that might have kept them on tour for several years. Other performers who entered in vaudeville's later years, including ], ], ], ], ], ], ], ], ], ], and ], used vaudeville only as a launching pad for later careers. They left live performance before achieving the national celebrity of earlier vaudeville stars, and found fame in new venues. | |||
| The line between live and filmed performances was blurred by the number of vaudeville entrepreneurs who made more or less successful forays into the movie business. For example, ] quickly realized the importance of motion pictures as a form of entertainment. He incorporated them in his shows as early as 1902. Later, he entered into partnership with the ], a major Hollywood production company and an affiliate of ]. | |||
| By the late 1920s, most vaudeville shows included a healthy selection of cinema. Earlier in the century, many vaudevillians, cognizant of the threat represented by cinema, held out hope that the silent nature of the "flickering shadow sweethearts" would preclude their usurpation of the paramount place in the public's affection. With the introduction of talking pictures in 1926, the burgeoning film studios removed what had remained the chief difference in favor of live theatrical performance: spoken dialogue. Historian ] wrote: <blockquote>Top vaudeville stars filmed their acts for one-time pay-offs, inadvertently helping to speed the death of vaudeville. After all, when "small time" theatres could offer "big time" performers on screen at a nickel a seat, who could ask audiences to pay higher amounts for less impressive live talent? The {{Not a typo|newly-formed}} ] took over the famed ] and swiftly turned it into a chain of full-time movie theaters. The half-century tradition of vaudeville was effectively wiped out within less than four years.<ref name=KenrickLove>Kenrick, John. . Musicals101.com, 2004, accessed May 17, 2010</ref></blockquote> | |||
| Inevitably, managers further trimmed costs by eliminating the last of the live performances. Vaudeville also suffered due to the rise of broadcast radio following the greater availability of inexpensive receiver sets later in the decade. Even the hardiest in the vaudeville industry realized the form was in decline; the perceptive understood the condition to be terminal. The standardized film distribution and talking pictures of the 1930s confirmed the end of vaudeville. By 1930, the vast majority of formerly live theatres had been wired for sound, and none of the major studios was producing silent pictures. For a time, the most luxurious theatres continued to offer live entertainment, but most theatres were forced by the ] to economize. | |||
| Some in the industry blamed cinema's drain of talent from the vaudeville circuits for the medium's demise. Others argued that vaudeville had allowed its performances to become too familiar to its famously loyal, now seemingly fickle audiences. | |||
| There was no abrupt end to vaudeville, though the form was clearly sagging by the late 1920s. Joseph Kennedy in a hostile buyout, acquired the Keith-Albee-Orpheum Theaters Corporation (KAO), which had more than 700 vaudeville theaters across the United States which had begun showing movies. The shift of New York City's Palace Theatre, vaudeville's epicenter, to an exclusively cinema presentation on November 16, 1932 is often considered to have been the death knell of vaudeville.<ref>{{cite book |last=Senelick |first=Laurence |editor-first=Don B.| editor-last=Wilmeth |title=Cambridge Guide to American Theatre |publisher=Cambridge University Press |date=October 22, 2007 |page=480 |edition=Second |isbn=978-0521835381 |url=https://books.google.com/books?id=UYsXbFvjrXkC&q=480#v=onepage&q&f=false |subscription=yes}}</ref> No single event is more reflective of its gradual withering. | |||
| Though talk of its resurrection was heard during the 1930s and later, the demise of the supporting apparatus of the circuits and the higher cost of live performance made any large-scale renewal of vaudeville unrealistic. | |||
| ==Architecture== | |||
| The most striking examples of ] theater architecture were commissioned by the big time vaudeville magnates and stood as monuments of their wealth and ambition. Examples of such architecture are the theaters built by impresario ]. Pantages often used architect ] (1881–1971), who in turn regularly worked with muralist ]. Priteca devised an exotic, neo-classical style that his employer called "Pantages Greek". | |||
| Though classic vaudeville reached a zenith of capitalization and sophistication in urban areas dominated by national chains and commodious theatres, small-time vaudeville included countless more intimate and locally controlled houses. Small-time houses were often converted saloons, rough-hewn theatres, or multi-purpose halls, together catering to a wide range of clientele. Many small towns had purpose-built theatres. | |||
| ==Post-vaudeville== | |||
| ] Ray Wollbrinck, once called "the cleverest buckdancer on the vaudeville stage", later became a bandleader and ended his days as a bank teller.]] | |||
| Some of the most prominent vaudevillians successfully made the transition to cinema, though others were not as successful. Some performers such as ] fashioned careers out of combining live performance with radio and film roles. Many others later appeared in the ] resorts that constituted the "]". | |||
| Vaudeville was instrumental in the success of the newer media of film, radio, and television. Comedies of the new era adopted many of the dramatic and musical tropes of classic vaudeville acts. The rich repertoire of the vaudeville tradition was mined for prominent prime-time radio ]s such as ''The ] Show''. The structure of a single host introducing a series of acts became a popular television style and can be seen consistently in the development of television, from '']'' in 1948 to '']'' in the 1980s.<ref name="Hilmes2010p97">{{cite book| last=Hilmes| first=Michele| date=February 12, 2010| url=https://books.google.com/books?id=zG0YsRLUi18C&pg=PA97| title=Only Connect: A Cultural History of Broadcasting in the United States| page=97| publisher=Cengage Learning| isbn=978-0495570516| quote= it is in the form of the variety show itself, network radio's offspring, that we can see the influence of vaudeville on radio most clearly. From ''The Rudy Vallee Show'' through ''Jack Benny'' and ''Bing Crosby'' to TV programs like ''The Ed Sullivan Show'', ''The Smothers Brothers'', ''Saturday Night Live'', ''In Living Color'', and ''Late Night with David Letterman'', we can see strong remnants of vaudeville's typical variety act structure. Combining a host/announcer with comedy sketches, musical performances, dance, monologues, and satiric banter--sometimes even animal acts--the variety show takes myriad forms today. The vaudeville circuit of touring companies and local theaters is gone, but it lives on electronically.}}</ref> The multi-act format had renewed success in shows such as '']'' with ] and '']''. Today, performers such as ], a ] and ]-winning actor, are frequently lauded as "New Vaudevillians."<ref>{{cite journal| url=http://www.time.com/time/magazine/article/0,9171,957652-2,00.html| work=]| title=Theater: Bowing Out with a Flourish| date=1989-05-15| accessdate=2010-05-27| first=William A.| last=Henry III}}</ref><ref>{{cite episode| url=http://www.pbs.org/wnet/gperf/dialogue/dialogue_irwin_3.html |series=]| title=Bill Irwin: Clown Prince| network=PBS| airdate=December 15, 2004| season=32| accessdate=2010-09-12}}</ref> | |||
| References to vaudeville and the use of its distinctive argot continue throughout Western popular culture. Words such as "flop" and "gag" were terms created from the vaudeville era and have entered the American idiom. Though not credited often, vaudevillian techniques can commonly be witnessed on television and in movies. | |||
| ==Archives== | |||
| The records of the ] are housed at the ], ], ], with additional personal papers of vaudevillian performers from the Tivoli Theatre, including extensive costume and set design holdings, held by the ], ]. | |||
| The American Vaudeville Museum, one of the largest collection of vaudeville memorabilia, is located at the University of Arizona.<ref>{{cite news| url=http://uanews.org/node/19369| title=Vaudeville Lives: The world's largest Vaudeville memorabilia collection has been donated to the UA| work=UA News| date=February 25, 2009}}</ref> | |||
| The ] in ] houses the world's largest collection of vaudeville props and scenery. | |||
| The ] and ] Collection housed at the ] includes a large collection of managers' report books recording and commenting on the lineup and quality of the acts each night.<ref>{{cite web| url=http://digital.lib.uiowa.edu/bai/books_iowa56_03.htm| title=The Keith/Albee Collection: The Vaudeville Industry, 1894-1935| first=M. Alison| last=Kibler| publisher=From Books at Iowa 56| date=April 1992}}</ref> | |||
| ==See also== | |||
| {{Listen | filename=How Can They Tell That I'm Irish.ogg | title=How can they tell that I'm Irish? | |||
| |description=1910 ] recording of vaudeville performer ]'s rendition of ]'s song ''How can they tell that I'm Irish?''}} | |||
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| ==References== | |||
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| ==External links== | |||
| {{Commons category|Vaudeville}} | |||
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Revision as of 23:47, 6 October 2016
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