Cabaret Performance

Harlem’s nightclubs in the 1920s and ’30s were a crucible for testing society’s racial and sexual limits. Normally tacit divisions were there made spectacularly public in the vibrant, but often fraugh

Harlem’s nightclubs in the 1920s and ’30s were a crucible for testing society’s racial and sexual limits. Normally tacit divisions were there made spectacularly public in the vibrant, but often fraugh

To explain why the French adore Jerry Lewis, Gordon (French and comparative literature, U. of Connecticut) presents a theory of comic performance drawn as much from psychiatric theories of hysteria as

A splendid introduction to the world of the European cabaret in the first period of its meteoric rise as a form of artistic creativity."--Harold Segel, author of Turn-of-the-Century Cabaret.

This international collection of essays forms a vibrant picture of the scope and diversity of contemporary queer performance. Ranging across cabaret, performance art, the performativity of film, drag

This volume collects for the first time critical essays, memoirs, and primary source materials relating to the surprising history of Jewish drama, cabaret, music, and opera under the Third Reich. Thes

Hansa Studios is situated in a former opera house that was, in turn, a 1920s cabaret, the performance hall of the State Chamber Orchestras of the Third Reich, partly demolished by allied bombs, and al

The fourteen chapters in this anthology feature original analyses of contemporary German-language literary texts, films, political cartoons, cabaret, and other types of performance. The artworks displ

Manet's well-known painting in the National Gallery London of a café-concert – a kind of cabaret performance and music-making that was the latest fashion in Paris of the 1870s – has a peculiar history

This is the first definitive history of African-American theatre. The text embraces a wide geography investigating companies from coast to coast as well as the anglophone Caribbean and African-American companies touring Europe, Australia, and Africa. This history represents a catholicity of styles - from African ritual born out of slavery to European forms, from amateur to professional. It covers nearly two and a half centuries of black performance and production with issues of gender, class, and race ever in attendance. The volume encompasses aspects of performance such as minstrel, vaudeville, cabaret acts, musicals and opera. Shows by white playwrights that used black casts, particularly in music and dance, are included, as are productions of western classics and a host of Shakespeare plays. The breadth and vitality of black theatre history, from the individual performance to large-scale company productions, from political nationalism to integration, is conveyed in this volume.