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To browse Academia. John Lehr. Elsa Marshall. Circus and the Avant-Gardes. History, Imaginary, Innovation. This chapter explores the historical avant-garde between popular and experimental theatre strategies by considering early Dada productions. Therefore, I carve out the relationship between circus practices and experimental Dada performances and argue that vaudeville — both a genre and a technique — can be identified as a link between circus practices and Dada experiments.
In order to emphasise their position between popular and experimental theatre, I will highlight their predilection for vaudeville techniques and how they are associated with cabaret and variety formats. By closely inspecting vaudeville, its genesis and — subsequently — its transformative character in all its ambivalent notions, we can then consider the historical separation of performance styles and their institutionalisation, including the differentiation of circus arts like acrobatics, skipping, magic, clowning and drama-based theatre.
Carlotta Sorba. Nicola Glaubitz. Veronica Kelly. From its first issue on 31 January , the Bulletin ran extensive and detailed weekly theatre reviews, telegraph snippets and news stories about national and international theatre events. Theatrical and performative metaphors overrun the theatre columns and Judith Hawley. Lise Schreier. This essay uses interracial relations as they were staged in vaudeville theaters after the Revolution to show how the genre provides a deeper understanding of this central issue in nineteenth century France.
Interrogating vaudevilles staging non-Western protagonists, it reveals that these characters were much more varied and nuanced than those of other theatrical forms such as the melodrama. The vaudeville, as predicable as it seemed, diversified and therefore trivialized racial difference.
