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Informationen zum Autor Author and scholar Andrew L. Erdman's essays have appeared in Theatre Studies, The Psychoanalytic Review, The Theatre Annual, The American Journal of Psychoanalysis and elsewhere. He lives in California. Klappentext This work reveals the often racy, ribald, and sexually charged nature of the vaudeville stage, looking at a broad array of provocative performers from disrobing dancers to nude posers to skimpily dressed athletes. Examining the ways in which big-time vaudeville nonetheless managed to market itself as pure, safe, and morally acceptable, this work compares the industry's marketing and promotional practices to those of other emergent mass-marketers of the vaudeville era in the late nineteenth and early twentieth century. Included are in-depth examinations of important figures from the vaudeville stage such as Annette Kellerman and Eva Tanguay. The work attempts to address historical context as one means of understanding these performers with an appreciation for their rebelliousness. It discusses censorship and content control in the vaudeville era, and concludes with an analysis of film's part in the fall of vaudeville. Many photographs, cartoons, and other illustrations are included. Zusammenfassung Reveals the often racy! ribald! and sexually charged nature of the vaudeville stage! looking at an array of provocative performers from disrobing dancers to nude posers to skimpily dressed athletes. This work includes in-depth examinations of important figures from the vaudeville stage such as Annette Kellerman and Eva Tanguay. Inhaltsverzeichnis Table of ContentsAcknowledgments Introduction 1. "Dressed in the Form of Art" The Censorship and Curtailment of Popular Entertainments 2. "Clean, Great, and National" The Mass Marketing of Amusement 3. "Of Pleasing Face and Form" The Sexual and the Sensual on Stage 4. "Wild Woman" Eva Tanguay as Temptress and Sexual Rebel 5. "The Signal of Distress" Film and the Fall of Vaudeville Chapter Notes Selected Bibliography Index ...
