402:... the plays themselves did not normally tend to indecency." Some contemporary critics took a sterner view; in an 1885 article, the critic Thomas Heyward praised Planché ("fanciful and elegant") and Gilbert ("witty, never vulgar"), but wrote of the genre as a whole, "the flashy, 'leggy', burlesque, with its 'slangy' songs, loutish 'breakdowns', vulgar jests, paltry puns and witless grimacing at all that is graceful and poetic is simply odious. … Burlesque, insensate, spiritless and undiscriminating, demoralizes both the audience and the players. It debases the public taste." Gilbert expressed his own views on the worth of burlesque:
515:
341:
entertainment, often in ways that bear no relation to the original play." Wells gives, as an example of the puns in the texts, the following: Macbeth and Banquo make their first entrance under an umbrella. The witches greet them with "Hail! hail! hail!": Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told "These showers of 'Hail' anticipate your 'reign'". Musically, Shakespearean burlesques were as varied as the others of the genre. An 1859 burlesque of
1890:
205:. The English style of burlesque was successfully launched in New York in the 1840s by the manager and comedian William Mitchell, who had opened his Olympic Theatre in December 1839. Like the London prototypes, his burlesques included characters with nonsensical names such as Wunsuponatyme and The King of Neverminditsnamia, and made fun of all kinds of music currently being presented in the city.
146:
545:
77:, burlesques featured musical scores drawing on a wide range of music, from popular contemporary songs to operatic arias, although later burlesques, from the 1880s, sometimes featured original scores. Dance played an important part, and great attention was paid to the staging, costumes and other spectacular elements of stagecraft, as many of the pieces were staged as
728:
213:'s success was attributed to his skill in appealing to the lower middle classes. Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. From the 1850s onwards, burlesquing of Italian, French and, later in the century, German opera was popular with London audiences.
535:
The depiction of female sexuality in
Victorian burlesque was an example of the connection between women as performers and women as sexual objects in Victorian culture. Throughout the history of theatre the participation of women on stage has been questioned. Victorian culture, according to Buszek in
340:
notes that although parodies of
Shakespeare had appeared even in Shakespeare's lifetime, the heyday of Shakespearean burlesque was the Victorian era. Wells observes that the typical Victorian Shakespeare burlesque "takes a Shakespeare play as its point of departure and creates from it a mainly comic
297:
By the 1880s, almost every truly popular opera had become the subject of a burlesque. Generally appearing after an opera's premiere or following a successful revival, they usually enjoyed local production runs, often for a month or longer. The popularity of stage burlesque in general and operatic
532:, which were male roles played by women; likewise, men eventually began to play older female roles. These reversals allowed viewers to distance themselves from the morality of the play, focusing more on joy and entertainment than catharsis, a definitive shift away from neoclassical ideas.
819:, which defines the word as "That species of literary composition, or of dramatic representation, which aims at exciting laughter by caricature of the manner or spirit of serious works, or by ludicrous treatment of their subjects; a literary or dramatic work of this kind."
33:
406:
The question whether burlesque has a claim to rank as art is, I think, one of degree. Bad burlesque is as far removed from true art as is a bad picture. But burlesque in its higher development calls for high intellectual power on the part of its professors.
61:
in which a well-known opera or piece of classical theatre or ballet is adapted into a broad comic play, usually a musical play, usually risqué in style, mocking the theatrical and musical conventions and styles of the original work, and often quoting or
175:. In these pieces, comedy stemmed from the incongruity and absurdity of the grand classical subjects, with realistic historical dress and settings, being juxtaposed with the everyday modern activities portrayed by the actors. For example,
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burlesque in particular seems to have stemmed from the many ways in which it entertained a diverse group, and the manner in which it fed and fed on the circus-like or carnivalesque atmosphere of public
Victorian London.
1806:
208:
Unlike pantomime, which aimed at all ages and classes, burlesque was aimed at a narrower, highly literate audience; some writers, such as the Brough brothers, aimed at a conservative middle class audience, and
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contributed original music to the burlesques, which were extended to a full-length two- or three-act format. These later Gaiety burlesques starred Farren and Leslie. They often included Leslie's
536:
2012, viewed paid female performance as being closely associated with prostitution, "a profession in which most women in the theatre dabbled, if not took on as a primary source of income".
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In the early 1890s, Farren retired, Leslie died, and musical burlesque went out of fashion in London, as the focus of the Gaiety and other burlesque theatres changed to the new genre of
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Originally short, one-act pieces, burlesques were later full-length shows, occupying most or all of an evening's programme. Authors who wrote burlesques included
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The dialogue for burlesques was generally written in rhyming couplets, or, less often, in other verse forms, such as blank verse; it was notable for its bad
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1768:
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1121:, Vol. 31, No. 2 (Summer, 1980), pp. 294–96, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011
1089:, Vol. 16, No. 1 (Winter, 1965), pp. 49–61, Folger Shakespeare Library in association with George Washington University, accessed 2 February 2011
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and may be considered an extension of the introductory section of pantomime with the addition of gags and 'turns'." Another antecedent was
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1698:
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declared that burlesque "is dead as a doornail and will never be revived." From her retirement, Nellie Farren endorsed this judgment.
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1796:
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from the 1860s to the early 1890s. In the 1860s and 1870s, burlesques were often one-act pieces running less than an hour and using
514:
781:, "the various genre terms were always applied freely", and by the 1860s their use had become "arbitrary and capricious": see
441:, the American playwright Charles Walcot encapsulated the character of burlesque in the epilogue, addressed to the audience by
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614:
1969:
520:
398:, although "an almost indispensable element of burlesque was the display of attractive women dressed in tights, often in
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1611:
685:. The title was a pun, and the worse the pun, the more Victorian audiences were amused. The last Gaiety burlesques were
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received their
British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly.
836:, Oxford University Press, 2008. Oxford Reference Online. Oxford University Press, accessed 16 February 2011
183:. In the early burlesques, the words of the songs were written to popular music, as had been done earlier in
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In a similar vein, ten years later, Gilbert gave an
English viewpoint on burlesque, in his epilogue to
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886:, Vol. 26, No. 3 (Autumn, 1973), pp. 365–82, University of California Press, accessed 2 February 2011
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639:
561:
290:
85:, to show off women's legs in tights, and some of the older female roles were taken by male actors.
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482:
1191:, Vol. 13, No. 2 (May, 1961), pp. 82–85, Johns Hopkins University Press, accessed 2 February 2011
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1357:, Vol. 10, No. 2 (December 1966), pp. 145–76, Indiana University Press, accessed 2 February 2011
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756:
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36:
1378:
1268:, 28 June 1923, p. 21, one of a series of articles later published in a 1925 book of same name.
1044:, Vol. 15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011
637:, written under his pseudonym, "A. C. Torr", and were usually given an original score by Lutz:
1949:
1826:
1821:
1753:
1600:
1564:
1530:
Reinhardt, Paul (December 1968). "The
Costume Designs of James Robinson Planché (1796-1880)".
1508:
687:
553:
548:
416:
282:
274:
262:
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wrote successful burlesques, sometimes jointly and sometimes alone. Their burlesques include
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by
William F. Vandervell (both 1857) were followed by five different burlesque treatments of
1539:
1249:"Representing 'Awarishness': Burlesque, Feminist Transgression, and the 19th-Century Pin-up"
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379:
366:
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936:, Vol. 15, No. 1 (March 2003), p. 42, Cambridge University Press, accessed 2 February 2011
1964:
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32:
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parody, which was labelled "a burlesque extravaganza": see Marvin, Roberta
Montemorra.
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442:
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286:
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214:
1908:
1715:
1667:
1651:
1489:
796:, the three terms are used interchangeably: see Adams, W. Davenport. "Burlesque: Old
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text or music from the original work. Victorian burlesque is one of several forms of
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were burlesqued. In a 2003 study of the subject, Roberta
Montemorra Marvin noted:
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England and in the New York theatre of the mid-19th century. It is a form of
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135:
67:
1605:
1519:
1038:"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture"
930:"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture"
429:, Planché were all in their respective lines professors of true burlesque.
1608:
at
Musicals101.com, The Cyber Encyclopedia of Musical Theatre, TV and Film
1417:
751:
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634:
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412:
353:, and some from traditional airs and popular songs of the day including "
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contained 23 musical numbers, some from opera, such as the serenade from
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Biographical file for John D'Auban, list of productions and theatres,
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Lawrence, W. J., rev. J. Gilliland. "Thompson, Lydia (1838–1908)",
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359:
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Ill Treated Trovatore, or the Mother the Maiden and the Musicianer
198:
180:
144:
31:
1612:"A Guide to Classical Burlesque - Funny Ha Ha or Funny Peculiar?"
1601:
Information about Burlesque from the Victoria & Albert Museum
201:, and some of the large-scale burlesque spectacles were known as
1620:
1585:
573:
305:
wrote five opera burlesques early in his career, beginning with
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opens with the gods of Olympus in classical Greek dress playing
1624:
580:
starred as the Gaiety Theatre's "principal boy" from 1868, and
134:, Victorian burlesque was "related to and in part derived from
1069:, Oxford University Press, 2004; online edition, January 2008
950:"Public Music Performances in New York City from 1800 to 1850"
374:
588:
joined the theatre in 1876. Early Gaiety burlesques included
120:
Burlesque theatre became popular around the beginning of the
53:, is a genre of theatrical entertainment that was popular in
1255:, 1999, vol. 43, issue 4, pp. 141–162, accessed 4 March 2012
1235:, 1999, vol. 5, issue 3, pp. 336–366, accessed 4 March 2012
576:
and other music that the audience would readily recognize.
387:
Mephistopheles: "Along the Riviera dudes her praises sing."
1447:, Oxford University Press, 2004, accessed 3 February 2011
1019:, Oxford University Press, 2004, accessed 3 February 2011
325:, became famous for their burlesques, by such authors as
1318:
Stewart, Maurice. 'The spark that lit the bonfire', in
1229:"Classical Mythology in the Victorian Popular Culture"
584:
choreographed the burlesques there from 1868 to 1891.
476:
This disgraceful Hiawatha, Mongrel, doggerel Hiawatha!
128:, which means "ridicule or mockery". According to the
81:. Many of the male roles were played by actresses as
1185:"Mrs. John Wood and the Lost Art of Burlesque Acting"
1141:, New York: Appleton-Century-Crofts, 1962, pp. 467–68
1561:
W. S. Gilbert, A Classic Victorian & His Theatre
956:, Vol. 6 (1970), pp. 5–50, accessed 2 February 2011
142:, in which new words were fitted to existing tunes.
1789:
1676:
1150:Heyward, Thomas, "Burlesque: Its Uses and Abuses",
493:
Forgive the jokes you've heard five thousand times;
124:. The word "burlesque" is derived from the Italian
1596:. Vol. 4 (11th ed.). 1911. p. 836.
1538:(4). The Johns Hopkins University Press: 524–44.
1513:Good Old Gaiety: An Historiette & Remembrance
308:Dulcamara, or the Little Duck and the Great Quack
1807:Mathematics, science, technology and engineering
866:. Oxford Music Online, accessed 3 February 2011
788:. Oxford Music Online, accessed 3 February 2011
954:Anuario Interamericano de Investigacion Musical
597:The Bohemian G-yurl and the Unapproachable Pole
189:. Later in the Victorian era, burlesque mixed
1233:International Journal of the Classic Tradition
496:Forgive each breakdown, cellar-flap, and clog,
1636:
884:Journal of the American Musicological Society
621:Beginning in the 1880s, when comedian-writer
490:So for burlesque I plead. Forgive our rhymes;
390:Walerlie: "Oh, did you Riviera such a thing?"
8:
502:And, above all – oh, ye with double barrel –
1781:United Kingdom of Great Britain and Ireland
1264:Sherson, Erroll, "Lost London Playhouses",
560:Burlesque became the specialty of London's
1643:
1629:
1621:
1163:Gilbert, W. S., Letter to Blanche Reives,
1100:
1098:
971:Speaight, George. "All froth and bubble",
1418:Arthur Lloyd Music Hall site (on Gaiety)
1243:
1241:
1203:Three types of dance popular in burlesque
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1030:
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499:Our low-bred songs – our slangy dialogue;
311:(1866), the most successful of which was
528:Actresses in burlesque would often play
513:
1445:Oxford Dictionary of National Biography
1220:
1218:
1067:Oxford Dictionary of National Biography
1017:Oxford Dictionary of National Biography
851:
849:
847:
845:
834:The Oxford Dictionary of Literary Terms
778:Grove Dictionary of Music and Musicians
768:
505:Forgive the scantiness of our apparel!
470:Jokes and puns, good, bad, and so-so, –
131:Grove Dictionary of Music and Musicians
1303:"Theatrical Humour in the Seventies",
967:
965:
792:. In an 1896 article on Burlesque in
1496:Princeton: Princeton University Press
1459:Adams, W. Davenport. "Burlesque: Old
1441:"Edwardes, George Joseph (1855–1915)"
1013:"Brough, Robert Barnabas (1828–1860)"
656:Frankenstein, or The Vampire's Victim
572:and parodies of popular songs, opera
251:Il Trovatore or Larks with a Libretto
7:
1520:"A History of The Musical Burlesque"
1135:"History of British musical theatre"
902:(London: Henry and Co., 1891), p. 44
880:"Popular Music and the Ballad Opera"
510:Gender reversal and female sexuality
464:Nigger airs, old glees, and catches,
458:And the work of paste and scissors,
1494:Anatomy of Criticism: Four Essays.
1277:"Mr. D'Auban's 'Startrap' Jumps".
625:joined the Gaiety, composers like
452:Love to laugh at all things funny,
25:
1480:Adams, William Davenport (1904)
1889:
1888:
1616:The Curious Adventures of Kittie
1351:"The Uses of Victorian Laughter"
1139:The Complete Book of Light Opera
726:
467:Interspersed with gems of Op'ra,
333:, both in Britain and the U.S.
1790:Economy, society and knowledge
615:Galatea, or Pygmalion Reversed
461:And "the unities" destruction,
245:, two of them by H. J. Byron:
1:
1515:. London: Gaiety Theatre Co.
1486:. London: Chatto & Windus
1011:(1850). See Dereli, Cynthia.
973:The Times Literary Supplement
473:Come and see this mutilation,
1802:Economy, industry, and trade
1036:Marvin, Roberta Montemorra.
675:(1889) made fun of the play
1563:. Oxford University Press.
1532:Educational Theatre Journal
1331:Hollingshead, pp. 14 and 55
1189:Educational Theatre Journal
1009:The Last Edition of Ivanhoe
672:Ruy Blas and the Blasé Roué
163:produced burlesques at the
1986:
1526:, accessed 3 February 2011
1467:, 1 March 1896, pp. 144–45
1083:"Shakespearian Burlesques"
804:, 1 March 1896, pp. 144–45
455:Love the bold anachronism.
321:'s burlesque troupe, with
153:, for which Planché wrote
1879:
1764:The Marquess of Salisbury
1658:
1559:Stedman, Jane W. (1996).
1483:A Dictionary of the Drama
1320:Gilbert and Sullivan News
975:, 1 October 1976, p. 1233
816:Oxford English Dictionary
449:Ye who love extravaganza,
383:(1888), a couplet reads:
235:Leicester Silk Buckingham
1499:Gilbert, W. S. (1869).
1309:, 20 February 1914, p. 9
710:Edwardian musical comedy
694:Cinder Ellen up too Late
336:The Shakespeare scholar
231:Our Lady of the Cameleon
1759:William Ewart Gladstone
1749:The Viscount Palmerston
1593:Encyclopædia Britannica
1449:(subscription required)
1408:Hollingshead, pp. 63–64
1359:(subscription required)
1340:Hollingshead, pp. 57–58
1193:(subscription required)
1171:, November 1880, p. 104
1167:in "Modern Burlesque",
1154:, November 1885, p. 477
1123:(subscription required)
1091:(subscription required)
1071:(subscription required)
1046:(subscription required)
1042:Cambridge Opera Journal
1021:(subscription required)
958:(subscription required)
938:(subscription required)
934:Cambridge Opera Journal
888:(subscription required)
868:(subscription required)
838:(subscription required)
790:(subscription required)
357:", and "Nix my Dolly".
167:beginning in 1831 with
1724:The Viscount Melbourne
1678:Politics and diplomacy
1426:4 January 2008 at the
1281:, 17 April 1922, p. 17
1247:Buszek, Maria-Elena.
985:Robert Barnabas Brough
701:(1892, with lyrics by
557:
525:
518:American burlesque on
431:
370:
317:(1868). In the 1870s,
300:
253:(1880). The operas of
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39:
1322:(London) Spring 2003.
1119:Shakespeare Quarterly
1087:Shakespeare Quarterly
898:Adams, W. Davenport.
586:Edward O'Connor Terry
547:
517:
419:, the authors of the
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363:
295:
148:
45:, sometimes known as
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1970:19th-century theatre
1769:The Earl of Rosebery
1744:The Earl of Aberdeen
1606:History of Burlesque
1502:The Pretty Druidess,
1183:in Hewitt, Barnard.
734:Victorian era portal
640:Little Jack Sheppard
594:(1868, by Gilbert),
562:Royal Strand Theatre
18:Victorian burlesques
1812:Society and culture
1430:accessed 1 Mar 2007
1381:on 10 December 2008
1115:"The Bard Debunked"
900:A Book of Burlesque
878:Moss, Harold Gene.
483:The Pretty Druidess
43:Victorian burlesque
1940:History of theatre
1509:Hollingshead, John
1292:The Theatre Museum
1152:Tinsley's Magazine
1113:Jacobs, Henry E.,
993:The Enchanted Isle
948:Rogers, Delmer D.
864:Grove Music Online
786:Grove Music Online
757:Travesti (theatre)
558:
526:
422:Rejected Addresses
377:. For example, in
371:
186:The Beggar's Opera
158:
40:
37:Souvenir programme
1935:Theatrical genres
1925:Victorian culture
1902:
1901:
1754:Benjamin Disraeli
1739:The Earl of Derby
1734:Lord John Russell
1587:"Burlesque"
1570:978-0-19-816174-5
1399:Adams, pp. 254–55
1373:Carmen up to Data
1355:Victorian Studies
1349:Gray, Donald J.,
911:Reinhardt, p. 541
775:According to the
688:Carmen up to Data
554:Carmen up to Data
549:Florence St. John
364:Sheet music from
16:(Redirected from
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1945:Stock characters
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666:Faust up to Date
651:Pretty Esmeralda
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367:Faust up to Date
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314:Robert the Devil
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1663:← Georgian era
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1490:Frye, Northrop
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566:Gaiety Theatre
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540:Gaiety Theatre
538:
530:breeches roles
511:
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478:
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445:as Minnehaha:
443:Mrs. John Wood
417:Geo Cruikshank
400:travesty roles
392:
391:
388:
319:Lydia Thompson
177:Olympic Revels
169:Olympic Revels
161:Madame Vestris
155:Olympic Revels
117:
114:
83:breeches roles
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389:
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338:Stanley Wells
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323:Willie Edouin
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303:W. S. Gilbert
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203:extravaganzas
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173:J. R. Planché
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137:
133:
132:
127:
123:
122:Victorian era
115:
113:
111:
107:
106:W. S. Gilbert
103:
102:F. C. Burnand
99:
95:
91:
90:J. R. Planché
86:
84:
80:
79:extravaganzas
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71:
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56:
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48:
44:
38:
34:
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19:
1884:Bibliography
1861:
1797:Demographics
1695:By location
1686:British Army
1615:
1591:
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1531:
1524:Musicals 101
1523:
1512:
1501:
1493:
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1395:
1383:. Retrieved
1379:the original
1372:
1365:
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1188:
1180:
1176:
1168:
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1159:
1151:
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1138:
1129:
1118:
1109:
1104:Wells, p. 55
1086:
1077:
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1052:
1041:
1016:
1008:
1004:
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972:
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944:
933:
926:Il trovatore
925:
916:
907:
899:
894:
883:
874:
863:
833:
824:
814:
809:
801:
797:
793:
785:
783:"Burlesque,"
776:
771:
742:Extravaganza
707:
698:
697:(1891), and
692:
686:
676:
670:
664:
660:
654:
650:
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638:
620:
613:
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582:John D'Auban
559:
552:
534:
527:
519:
481:
479:
438:
433:In his 1859
432:
420:
409:Aristophanes
405:
395:
393:
378:
372:
365:
355:Buffalo Gals
350:Don Pasquale
348:
342:
335:
331:Robert Reece
327:H. B. Farnie
312:
306:
301:
296:
250:
246:
243:Il trovatore
242:
239:Our Traviata
238:
230:
224:
220:Il trovatore
218:
207:
184:
176:
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159:
154:
140:ballad opera
129:
125:
119:
87:
75:ballad opera
72:
51:extravaganza
50:
46:
42:
41:
29:
1842:Masculinity
1614:Allan, K.,
1465:The Theatre
1385:10 December
1225:Hall, Edith
1007:(1849) and
922:H. J. Byron
860:"Burlesque"
830:"Burlesque"
802:The Theatre
794:The Theatre
712:. In 1896,
703:Adrian Ross
683:Victor Hugo
631:Osmond Carr
623:Fred Leslie
439:Hi-A-Wa-Tha
249:(1863) and
226:La traviata
211:H. J. Byron
110:Fred Leslie
94:H. J. Byron
1909:Categories
1511:. (1903)
1475:References
1005:The Sphinx
1001:Masaniello
627:Meyer Lutz
608:(1883, by
602:Blue Beard
524:, c. 1900.
437:burlesque
435:Longfellow
427:John Leech
195:music hall
98:G. R. Sims
64:pastiching
1920:Burlesque
1862:Burlesque
1837:Jewellery
1817:Cosmetics
1492:. (1957)
1306:The Times
1279:The Times
1266:The Stage
669:(1888).
570:pastiches
275:Meyerbeer
263:Donizetti
136:pantomime
68:burlesque
55:Victorian
1950:Parodies
1894:Category
1852:Painting
1847:Morality
1709:Scotland
1424:Archived
1420:Cuttings
1003:(1857),
999:(1856),
995:(1848),
924:'s 1863
752:Pastiche
720:See also
699:Don Juan
691:(1890),
678:Ruy Blas
659:(1887),
653:(1887),
649:(1886),
643:(1885),
635:libretti
618:(1883).
604:(1882),
600:(1877),
413:Rabelais
191:operetta
47:travesty
1857:Theatre
1827:Fashion
1822:Erotica
1699:Ireland
1552:3204997
858:et al.
661:Mazeppa
521:Ben Hur
283:Rossini
255:Bellini
116:History
1965:Satire
1955:Humour
1832:Houses
1704:London
1567:
1550:
1505:London
1463:New",
1181:Quoted
1165:quoted
800:New",
747:Parody
612:) and
287:Wagner
279:Mozart
271:Handel
267:Gounod
59:parody
1869:Women
1548:JSTOR
997:Medea
763:Notes
606:Ariel
574:arias
396:Grove
291:Weber
259:Bizet
215:Verdi
199:revue
181:whist
126:burla
73:Like
1565:ISBN
1387:2008
813:The
663:and
629:and
564:and
375:puns
329:and
289:and
237:and
223:and
197:and
149:The
108:and
1540:doi
705:).
681:by
551:in
233:by
217:'s
171:by
49:or
1911::
1590:.
1546:.
1536:20
1534:.
1522:,
1461:v.
1443:,
1353:,
1251:,
1240:^
1231:,
1227:.
1217:^
1187:,
1137:,
1117:,
1097:^
1085:,
1040:,
1027:^
1015:,
964:^
952:,
932:,
882:,
862:,
844:^
832:,
798:v.
486::
425:,
415:,
411:,
285:,
281:,
277:,
273:,
269:,
265:,
261:,
257:,
193:,
112:.
104:,
100:,
96:,
92:,
70:.
1644:e
1637:t
1630:v
1573:.
1554:.
1542::
1389:.
1375:"
20:)
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