BernheimV1, Istex, Corpus, bibRecord, 000951

Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904

Identifieur interne : 000951 ( Istex/Corpus ); précédent : 000950; suivant : 000952

Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904

Source :

The Journal of the Gilded Age and Progressive Era [ 1537-7814 ] ; 2005-10.

RBID : ISTEX:F22B9C785485246C244E2A3FF9F278DD54D88F63

Abstract

In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”

Url:

https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/pdf

DOI: 10.1017/S1537781400002760

Links to Exploration step

ISTEX:F22B9C785485246C244E2A3FF9F278DD54D88F63

Le document en format XML

<record><TEI wicri:istexFullTextTei="biblStruct"><teiHeader><fileDesc><titleStmt><title>Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
<author><name sortKey="Newbury, Michael" sort="Newbury, Michael" uniqKey="Newbury M" first="Michael" last="Newbury">Michael Newbury</name>
<affiliation><mods:affiliation>Middlebury College</mods:affiliation>
</affiliation>
</author>
</titleStmt>
<publicationStmt><idno type="wicri:source">ISTEX</idno>
<idno type="RBID">ISTEX:F22B9C785485246C244E2A3FF9F278DD54D88F63</idno>
<date when="2005" year="2005">2005</date>
<idno type="doi">10.1017/S1537781400002760</idno>
<idno type="url">https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/pdf</idno>
<idno type="wicri:Area/Istex/Corpus">000951</idno>
<idno type="wicri:explorRef" wicri:stream="Istex" wicri:step="Corpus" wicri:corpus="ISTEX">000951</idno>
</publicationStmt>
<sourceDesc><biblStruct><analytic><title level="a">Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
<author><name sortKey="Newbury, Michael" sort="Newbury, Michael" uniqKey="Newbury M" first="Michael" last="Newbury">Michael Newbury</name>
<affiliation><mods:affiliation>Middlebury College</mods:affiliation>
</affiliation>
</author>
</analytic>
<monogr></monogr>
<series><title level="j">The Journal of the Gilded Age and Progressive Era</title>
<title level="j" type="abbrev">J. gilded age prog. era</title>
<idno type="ISSN">1537-7814</idno>
<idno type="eISSN">1943-3557</idno>
<imprint><publisher>Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<date type="published" when="2005-10">2005-10</date>
<biblScope unit="volume">4</biblScope>
<biblScope unit="issue">4</biblScope>
<biblScope unit="page" from="381">381</biblScope>
<biblScope unit="page" to="407">407</biblScope>
</imprint>
<idno type="ISSN">1537-7814</idno>
</series>
</biblStruct>
</sourceDesc>
<seriesStmt><idno type="ISSN">1537-7814</idno>
</seriesStmt>
</fileDesc>
<profileDesc><textClass></textClass>
<langUsage><language ident="en">en</language>
</langUsage>
</profileDesc>
</teiHeader>
<front><div type="abstract">In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”</div>
</front>
</TEI>
<istex><corpusName>cambridge</corpusName>
<author><json:item><name>Michael Newbury</name>
<affiliations><json:string>Middlebury College</json:string>
</affiliations>
</json:item>
</author>
<articleId><json:string>00276</json:string>
</articleId>
<arkIstex>ark:/67375/6GQ-5G6ZL07G-S</arkIstex>
<language><json:string>eng</json:string>
</language>
<originalGenre><json:string>research-article</json:string>
</originalGenre>
<abstract>In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”</abstract>
<qualityIndicators><score>8.98</score>
<pdfWordCount>10549</pdfWordCount>
<pdfCharCount>63208</pdfCharCount>
<pdfVersion>1.6</pdfVersion>
<pdfPageCount>27</pdfPageCount>
<pdfPageSize>424.8 x 648 pts</pdfPageSize>
<refBibsNative>true</refBibsNative>
<abstractWordCount>165</abstractWordCount>
<abstractCharCount>1028</abstractCharCount>
<keywordCount>0</keywordCount>
</qualityIndicators>
<title>Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
<pii><json:string>S1537781400002760</json:string>
</pii>
<genre><json:string>research-article</json:string>
</genre>
<host><title>The Journal of the Gilded Age and Progressive Era</title>
<language><json:string>unknown</json:string>
</language>
<issn><json:string>1537-7814</json:string>
</issn>
<eissn><json:string>1943-3557</json:string>
</eissn>
<publisherId><json:string>JGA</json:string>
</publisherId>
<volume>4</volume>
<issue>4</issue>
<pages><first>381</first>
<last>407</last>
<total>27</total>
</pages>
<genre><json:string>journal</json:string>
</genre>
</host>
<ark><json:string>ark:/67375/6GQ-5G6ZL07G-S</json:string>
</ark>
<categories><inist><json:string>1 - sciences humaines et sociales</json:string>
</inist>
</categories>
<publicationDate>2005</publicationDate>
<copyrightDate>2005</copyrightDate>
<doi><json:string>10.1017/S1537781400002760</json:string>
</doi>
<id>F22B9C785485246C244E2A3FF9F278DD54D88F63</id>
<score>1</score>
<fulltext><json:item><extension>pdf</extension>
<original>true</original>
<mimetype>application/pdf</mimetype>
<uri>https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/pdf</uri>
</json:item>
<json:item><extension>zip</extension>
<original>false</original>
<mimetype>application/zip</mimetype>
<uri>https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/zip</uri>
</json:item>
<json:item><extension>txt</extension>
<original>false</original>
<mimetype>text/plain</mimetype>
<uri>https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/txt</uri>
</json:item>
<istex:fulltextTEI uri="https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/fulltext/tei"><teiHeader><fileDesc><titleStmt><title level="a">Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
</titleStmt>
<publicationStmt><authority>ISTEX</authority>
<publisher scheme="https://publisher-list.data.istex.fr">Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<availability><licence><p>Copyright © Society for Historians of the Gilded Age and Progressive Era 2005</p>
</licence>
<p scheme="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</p>
</availability>
<date>2005</date>
</publicationStmt>
<notesStmt><note type="research-article" scheme="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</note>
<note type="journal" scheme="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</note>
</notesStmt>
<sourceDesc><biblStruct type="inbook"><analytic><title level="a">Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
<author xml:id="author-0000"><persName><forename type="first">Michael</forename>
<surname>Newbury</surname>
</persName>
<note type="biography">Michael Newbury is an associate professor of American literature and civilization at Middlebury College in Vermont and the author of Figuring Authorship in Antebellum America (Stanford, 1997). His current work centers on musical comedy and American culture.</note>
<affiliation>Michael Newbury is an associate professor of American literature and civilization at Middlebury College in Vermont and the author of Figuring Authorship in Antebellum America (Stanford, 1997). His current work centers on musical comedy and American culture.</affiliation>
<affiliation>Middlebury College</affiliation>
</author>
<idno type="istex">F22B9C785485246C244E2A3FF9F278DD54D88F63</idno>
<idno type="ark">ark:/67375/6GQ-5G6ZL07G-S</idno>
<idno type="DOI">10.1017/S1537781400002760</idno>
<idno type="PII">S1537781400002760</idno>
<idno type="article-id">00276</idno>
</analytic>
<monogr><title level="j">The Journal of the Gilded Age and Progressive Era</title>
<title level="j" type="abbrev">J. gilded age prog. era</title>
<idno type="pISSN">1537-7814</idno>
<idno type="eISSN">1943-3557</idno>
<idno type="publisher-id">JGA</idno>
<imprint><publisher>Cambridge University Press</publisher>
<pubPlace>Cambridge, UK</pubPlace>
<date type="published" when="2005-10"></date>
<biblScope unit="volume">4</biblScope>
<biblScope unit="issue">4</biblScope>
<biblScope unit="page" from="381">381</biblScope>
<biblScope unit="page" to="407">407</biblScope>
</imprint>
</monogr>
</biblStruct>
</sourceDesc>
</fileDesc>
<profileDesc><creation><date>2005</date>
</creation>
<langUsage><language ident="en">en</language>
</langUsage>
<abstract style="text-abstract"><p>In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”</p>
</abstract>
</profileDesc>
<revisionDesc><change when="2005-10">Published</change>
</revisionDesc>
</teiHeader>
</istex:fulltextTEI>
</fulltext>
<metadata><istex:metadataXml wicri:clean="corpus cambridge not found" wicri:toSee="no header"><istex:xmlDeclaration>version="1.0" encoding="US-ASCII"</istex:xmlDeclaration>
<istex:docType PUBLIC="-//NLM//DTD Journal Publishing DTD v2.2 20060430//EN" URI="journalpublishing.dtd" name="istex:docType"></istex:docType>
<istex:document><article dtd-version="2.2" article-type="research-article"><front><journal-meta><journal-id journal-id-type="publisher-id">JGA</journal-id>
<journal-title>The Journal of the Gilded Age and Progressive Era</journal-title>
<abbrev-journal-title>J. gilded age prog. era</abbrev-journal-title>
<issn pub-type="ppub">1537-7814</issn>
<issn pub-type="epub">1943-3557</issn>
<publisher><publisher-name>Cambridge University Press</publisher-name>
<publisher-loc>Cambridge, UK</publisher-loc>
</publisher>
</journal-meta>
<article-meta><article-id pub-id-type="doi">10.1017/S1537781400002760</article-id>
<article-id pub-id-type="pii">S1537781400002760</article-id>
<article-id pub-id-type="publisher-id">00276</article-id>
<title-group><article-title>Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</article-title>
<alt-title alt-title-type="left-running"><italic>Journal of the Gilded Age and Progressive Era</italic>
 / October 2005</alt-title>
<alt-title alt-title-type="right-running">Newbury / Polite Gaiety</alt-title>
</title-group>
<contrib-group><contrib><name><surname>Newbury</surname>
<given-names>Michael</given-names>
</name>
<xref ref-type="aff" rid="aff1"></xref>
</contrib>
<bio><p>Michael Newbury is an associate professor of American literature and civilization at Middlebury College in Vermont and the author of <italic>Figuring Authorship in Antebellum America</italic>
 (Stanford, 1997). His current work centers on musical comedy and American culture.</p>
</bio>
</contrib-group>
<aff id="aff1"><institution>Middlebury College</institution>
</aff>
<pub-date pub-type="ppub"><month>10</month>
<year>2005</year>
</pub-date>
<volume>4</volume>
<issue>4</issue>
<fpage seq="7">381</fpage>
<lpage>407</lpage>
<permissions><copyright-statement>Copyright © Society for Historians of the Gilded Age and Progressive Era 2005</copyright-statement>
<copyright-year>2005</copyright-year>
<copyright-holder>Society for Historians of the Gilded Age and Progressive Era</copyright-holder>
</permissions>
<abstract abstract-type="text-abstract"><p>In 1903, Alan Dale, the theater critic for the <italic>New York American and Journal</italic>
, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”</p>
</abstract>
<counts><page-count count="27"></page-count>
</counts>
<custom-meta-wrap><custom-meta><meta-name>pdf</meta-name>
<meta-value>S1537781400002760a.pdf</meta-value>
</custom-meta>
<custom-meta><meta-name>dispart</meta-name>
<meta-value>Essays</meta-value>
</custom-meta>
</custom-meta-wrap>
</article-meta>
</front>
<back><fn-group><fn id="fn01" symbol="1"><label><sup>1</sup>
</label>
<p><citation id="ref001" citation-type="other"><name><surname>Dale</surname>
<given-names>Alan</given-names>
</name>
, “Has Musical Comedy Become Our National Drama?” <italic>New York American and Journal</italic>
 (Sunday, May 17, <year>1903</year>
)</citation>
, Alan Dale Scrapbook, Robinson Locke Collection, New York Public Library for the Performing Arts.</p>
</fn>
<fn id="fn02" symbol="2"><label><sup>2</sup>
</label>
<p><citation id="ref002" citation-type="other"><name><surname>Archer</surname>
<given-names>William</given-names>
</name>
, “The Blight on the Drama” <italic>The Living Age</italic>
 (March 6, <year>1897</year>
): <fpage>643</fpage>
–46</citation>
;
<citation id="ref003" citation-type="other"><italic>Theatre</italic>
 (March <year>1903</year>
): <fpage>60</fpage>
</citation>
.</p>
</fn>
<fn id="fn03" symbol="3"><label><sup>3</sup>
</label>
<p><citation id="ref004" citation-type="book"><name><surname>Levine</surname>
<given-names>Lawrence</given-names>
</name>
, <source>Highbrow/Lowbrow: The Emergence of Cultural Hierarchy in America</source>
 (<publisher-loc>Cambridge, Mass.</publisher-loc>
, <year>1988</year>
), <fpage>60</fpage>
, 156-62</citation>
.</p>
</fn>
<fn id="fn04" symbol="4"><label><sup>4</sup>
</label>
<p>See for example
<citation id="ref005" citation-type="other"><name><surname></surname>
<given-names>Levine</given-names>
</name>
, <italic>Highbrow/Lowbrow</italic>
, <fpage>227</fpage>
</citation>
;
<citation id="ref006" citation-type="book"><name><surname>Dimaggio</surname>
<given-names>Paul</given-names>
</name>
, “Cultural Entrpreneurship in 19th-century Boston,” <source>Media, Culture, and Society: A Critical Reader</source>
, <name><surname>Collins</surname>
<given-names>Richard</given-names>
</name>
 et al. (<publisher-loc>Beverly Hills</publisher-loc>
, <year>1986</year>
), <fpage>208</fpage>
–09</citation>
.</p>
</fn>
<fn id="fn05" symbol="5"><label><sup>5</sup>
</label>
<p><citation id="ref007" citation-type="book"><name><surname>Rubin</surname>
<given-names>Joan Shelley</given-names>
</name>
, <source>The Making of Middlebrow Culture</source>
 (<publisher-loc>Chapel Hill</publisher-loc>
, <year>1992</year>
), 11-15, <fpage>105</fpage>
–07</citation>
.
<citation id="ref008" citation-type="journal"><name><surname>Sheets</surname>
<given-names>Kevin B.</given-names>
</name>
, “<article-title>Antiquity Bound: The Loeb Classical Library as Middlebrow Culture in the Early Twentieth Century</article-title>
,” <source>Journal of the Gilded Age and Progressive Era</source>
 <volume>4</volume>
 (April <year>2005</year>
): <fpage>149</fpage>
–50</citation>
.
<citation id="ref009" citation-type="book"><name><surname>Radway</surname>
<given-names>Janice</given-names>
</name>
, <source>A Feeling for Books: The Book-of-the-Month Club, Literary Taste, and Middle-Class Desire</source>
 (<publisher-loc>Chapel Hill</publisher-loc>
, <year>1997</year>
), <fpage>94</fpage>
–<lpage>110</lpage>
</citation>
. Radway in particular emphasizes that the phrase and idea of the “middlebrow” only came into popular usage in the 1920s to signify an historically specific marriage between high cultural ideals and and the machinery of mass-cultural production. Using the term with reference to earlier periods is, she believes “anachronistic” (366-67). Some decades later, by the 1950s, after the musical comedy form had changed significantly, observers routinely thought of it as “middlebrow.” See
<citation id="ref010" citation-type="book"><name><surname>Klein</surname>
<given-names>Christina</given-names>
</name>
, <source>Cold War Orientalism: Asia in the Middlebrow Imagination, 1945-1961</source>
 (<publisher-loc>Berkeley</publisher-loc>
, <year>2003</year>
)</citation>
;
<citation id="ref011" citation-type="book"><name><surname>MacDonald</surname>
<given-names>Dwight</given-names>
</name>
, “Masscult and Midcult,” <source>Against the American Grain</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1962</year>
), <fpage>39</fpage>
</citation>
. MacDonald's screed attacks the work of Rodgers and Hammerstein, “the folk-fakery of <italic>Oklahoma!</italic>
 and the orotund sentimentalities of <italic>South Pacific</italic>
.”</p>
</fn>
<fn id="fn06" symbol="6"><label><sup>6</sup>
</label>
<p><citation id="ref012" citation-type="journal"><name><surname>Frith</surname>
<given-names>Simon</given-names>
</name>
, “<article-title>The Good, The Bad, and The Indifferent: Defending Popular Culture from the Populists</article-title>
,” <source>Diacritics</source>
 <volume>21</volume>
 (Winter <year>1991</year>
): <fpage>104</fpage>
</citation>
.</p>
</fn>
<fn id="fn07" symbol="7"><label><sup>7</sup>
</label>
<p>The cover of playbills at the Casino in the years around 1900 dubbed that theater either “The Home of Polite Gaiety” or “The Home of Refined Musical Comedy.” Program for <italic>A Chinese Honeymoon</italic>
, Week Commencing Monday Evening, Aug. 25,1902,” Dartmouth College Theatre Collection; Program for <italic>Florodora</italic>
, “Eighteenth regular Winter Season, week beginning Monday evening, December 31, 1900,” Dartmouth College Theatre Collection. Promotional materials for vaudeville tended to be, but were not always, more sensationalist in design. I know of none that so openly seeks this vision of aristocratic elegance.</p>
</fn>
<fn id="fn08" symbol="8"><label><sup>8</sup>
</label>
<p>For more on Edwardes and the origins of “musical comedy,” see these standard sources:
<citation id="ref013" citation-type="book"><name><surname>Green</surname>
<given-names>Stanley</given-names>
</name>
, <source>Encyclopedia of the Musical Theatre</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1976</year>
), <fpage>110</fpage>
</citation>
;
<citation id="ref014" citation-type="book"><name><surname>Ganzl</surname>
<given-names>Kurt</given-names>
</name>
, <source>The Encyclopedia of Musical Theatre</source>
, <edition>2nd</edition>
 ed., vol. <volume>1</volume>
 (<publisher-loc>New York</publisher-loc>
, <year>2001</year>
), <fpage>562</fpage>
–63</citation>
. Cecil Smith and Glenn Litton, <italic>Musical Comedy in America</italic>, rpt. ed. (New York, 1991), 66;
<citation id="ref015" citation-type="book"><name><surname>Lamb</surname>
<given-names>Andrew</given-names>
</name>
, <source>150 Years of Popular Musical Theatre</source>
 (<publisher-loc>New Haven</publisher-loc>
, <year>2000</year>
), <fpage>113</fpage>
–24</citation>
.</p>
</fn>
<fn id="fn09" symbol="9"><label><sup>9</sup>
</label>
<p>Augustin Daly is quoted in “A Famous American Manager” <italic>Munsey's Magazine</italic>
, 1A2-45, undated clipping, Augustin Daly clippings file, Dartmouth College Theatre Collection.</p>
</fn>
<fn id="fn10" symbol="10"><label><sup>10</sup>
</label>
<p><citation id="ref016" citation-type="book"><name><surname>Daly</surname>
<given-names>Joseph Francis</given-names>
</name>
, <source>The Life of Augustin Daly</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1917</year>
), <fpage>578</fpage>
</citation>
;
<citation id="ref017" citation-type="book"><name><surname>Felheim</surname>
<given-names>Marvin</given-names>
</name>
, <source>The Theater of Augustin Daly</source>
 (<publisher-loc>Cambridge, Mass.</publisher-loc>
, <year>1956</year>
), <fpage>264</fpage>
–66</citation>
. Joseph Horowitz notes that similar mixings and crossings between the high and the middle seem to have been frequent in the world of classical music.
<citation id="ref018" citation-type="journal"><name><surname></surname>
<given-names>Horowitz</given-names>
</name>
, “<article-title>Music and the Gilded Age: Social Control and Sacrilization Revisited</article-title>
,” <source>Journal of the GildedAge and Progressive Era</source>
 <volume>3</volume>
 (<year>2004</year>
): <fpage>236</fpage>
–37</citation>
.</p>
</fn>
<fn id="fn11" symbol="11"><label><sup>11</sup>
</label>
<p>“Music and Drama, Hollis Street Theatre: ‘The Lady Slavey”’; “At the Theatres, Casino: ‘The Lady Slavey.’” Both articles are in <italic>The Lady Slavey</italic>
 clippingsfile, New York Public Library for the Performing Arts.</p>
</fn>
<fn id="fn12" symbol="12"><label><sup>12</sup>
</label>
<p>On the emergence of the safety bicycle and fashionable “wheelwomen” see particular-y l
<citation id="ref019" citation-type="journal"><name><surname>Gruber-Garvey</surname>
<given-names>Ellen</given-names>
</name>
, “<article-title>Reframing the Bicycle: Advertising-Supported Magazines and Scorching Women</article-title>
,” <source>American Quarterly</source>
 <volume>47</volume>
 (<year>1995</year>
): <fpage>66</fpage>
–<lpage>101</lpage>
</citation>
.</p>
</fn>
<fn id="fn13" symbol="13"><label><sup>13</sup>
</label>
<p>Stewart is quoted in
<citation id="ref020" citation-type="book"><name><surname>Lamb</surname>
<given-names>Andrew</given-names>
</name>
, <source>Leslie Stuart: Composer of</source>
 Florodora (<publisher-loc>New York</publisher-loc>
, <year>2002</year>
)</citation>
; “At the Theatres—<italic>The Lady Slavey” Lady Slavey</italic>
 clippingsfile, New York Public Library for the Performing Arts.</p>
</fn>
<fn id="fn14" symbol="14"><label><sup>14</sup>
</label>
<p><citation id="ref021" citation-type="other"><name><surname>Lederer</surname>
<given-names>George</given-names>
</name>
, “The Evolution of Musical Comedy,” <italic>The Green Book Album</italic>
 (December <year>1909</year>
): <fpage>1189</fpage>
</citation>
;
<citation id="ref022" citation-type="other"><name><surname>Anderson</surname>
<given-names>John</given-names>
</name>
, “George Lederer,” George Lederer Envelope, Robinson Locke Collection, New York Library for the Performing Arts, <fpage>22</fpage>
</citation>
.</p>
</fn>
<fn id="fn15" symbol="15"><label><sup>15</sup>
</label>
<p><citation id="ref023" citation-type="book"><name><surname>Allen</surname>
<given-names>Robert</given-names>
</name>
, <source>Horrible Prettiness: Burlesque and American Culture</source>
 (<publisher-loc>Chapel Hill</publisher-loc>
, <year>1991</year>
), <fpage>138</fpage>
</citation>
;
<citation id="ref024" citation-type="book"><name><surname>Toll</surname>
<given-names>Robert</given-names>
</name>
, <source>On With the Shorn' The First Century of Show Business in America</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1976</year>
), <fpage>216</fpage>
–20</citation>
.
<citation id="ref025" citation-type="book"><name><surname>Dudden</surname>
<given-names>Faye</given-names>
</name>
, <source>Women in the American Theatre: Actresses and Audiences, 1790-1870</source>
 (<publisher-loc>New Haven</publisher-loc>
, <year>1994</year>
)</citation>
. Toll and Dudden see less subversion in burlesque's performances, emphasizing that “women's bodies [were their] major feature and their figures, not their talents, the major requirements” (Toll, 216).</p>
</fn>
<fn id="fn16" symbol="16"><label><sup>16</sup>
</label>
<p><citation id="ref026" citation-type="other"><name><surname></surname>
<given-names>Smith</given-names>
</name>
 and <name><surname></surname>
<given-names>Litton</given-names>
</name>
, <italic>Musical Comedy</italic>
, <fpage>11</fpage>
–<lpage>19</lpage>
</citation>
;
<citation id="ref027" citation-type="other"><name><surname></surname>
<given-names>Toll</given-names>
</name>
, <italic>On with the Show!</italic>
, <fpage>222</fpage>
</citation>
.</p>
</fn>
<fn id="fn17" symbol="17"><label><sup>17</sup>
</label>
<p><citation id="ref028" citation-type="book"><name><surname>Glenn</surname>
<given-names>Susan</given-names>
</name>
, <source>Female Spectacle: The Theatrical Roots of Modern Feminism</source>
 (<publisher-loc>Cambridge, Mass.</publisher-loc>
, <year>2000</year>
), <fpage>156</fpage>
</citation>
;
<citation id="ref029" citation-type="book"><name><surname>Banner</surname>
<given-names>Lois</given-names>
</name>
, <source>American Beauty</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1983</year>
), <fpage>179</fpage>
–82</citation>
.</p>
</fn>
<fn id="fn18" symbol="18"><label><sup>18</sup>
</label>
<p><citation id="ref030" citation-type="other"><name><surname></surname>
<given-names>Anderson</given-names>
</name>
, “George Lederer,” <fpage>22</fpage>
</citation>
.</p>
</fn>
<fn id="fn19" symbol="19"><label><sup>19</sup>
</label>
<p>See, for example, “Fan Gavotte” from Ludwig Englander and Harry Bache Smith, <italic>The Strollers</italic>
, promptbook and vocal score in Tams-Witmark Collection, University of Wisconsin-Madison. The song is a series of verses on the cross-cultural history of the fan as the flirtatious woman's fashion accessory:</p>
<p>In every age in every clime</p>
<p>Since girls to flirt began</p>
<p>The poet's page of pretty rhyme</p>
<p>Has sung the praises of the fan…</p>
</fn>
<fn id="fn20" symbol="20"><label><sup>20</sup>
</label>
<p><citation id="ref031" citation-type="book"><name><surname>Englander</surname>
<given-names>Ludwig</given-names>
</name>
 and <name><surname>Smith</surname>
<given-names>Harry B.</given-names>
</name>
, <source>The Rich Mr. Hoggenheimer</source>
 (<publisher-name>Library of Congress Copyright Deposits</publisher-name>
, reel 204, <year>1906</year>
), <fpage>9</fpage>
–<lpage>11</lpage>
</citation>
; Sidney Jones et al., <italic>A Gaiety Girl</italic>
, promptbook in Tams-Witmark Collection, University of Wisconsin-Madison.</p>
</fn>
<fn id="fn21" symbol="21"><label><sup>21</sup>
</label>
<p>My phrasing borrows from
<citation id="ref032" citation-type="book"><name><surname>Bailey</surname>
<given-names>Peter</given-names>
</name>
, “Naughty but Nice: Musical Comedy and the Rhetoric of the Girl,” <source>The Edwardian Theatre</source>
, ed. <name><surname>Booth</surname>
<given-names>Michael</given-names>
</name>
 and <name><surname>Kaplan</surname>
<given-names>Joel</given-names>
</name>
 (<publisher-loc>New York</publisher-loc>
, <year>1996</year>
), <fpage>48</fpage>
–<lpage>52</lpage>
</citation>
.</p>
</fn>
<fn id="fn22" symbol="22"><label><sup>22</sup>
</label>
<p><citation id="ref033" citation-type="book"><name><surname>Snyder</surname>
<given-names>Robert</given-names>
</name>
, <source>The Voice of the City: Vaudeville and Popular Culture in New York</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1989</year>
), <fpage>137</fpage>
–38</citation>
. Weber and Fields are quoted in
<citation id="ref034" citation-type="book"><name><surname>Jenkins</surname>
<given-names>Henry</given-names>
</name>
, <source>What Made Pistachio Nuts: Early Sound Comedy and the Vaudeville Aesthetic</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1992</year>
), <fpage>35</fpage>
</citation>
.</p>
</fn>
<fn id="fn23" symbol="23"><label><sup>23</sup>
</label>
<p><citation id="ref035" citation-type="other"><name><surname>Dale</surname>
<given-names>Alan</given-names>
</name>
, “Enter the New School of Comic Opera Humor” <italic>New York American and journal</italic>
, Jan. 11, <year>1903</year>
, <fpage>22</fpage>
</citation>
, Alan Dale Scrapbook, Robinson Locke Collection, New York Public Library for the Performing Arts. Other comments on the need for more refined humor in musical comedy can be found in
<citation id="ref036" citation-type="other">“The Jewel of Asia,” <italic>New York Dramatic Mirror</italic>
 (Feb 28, <year>1903</year>
): <fpage>16</fpage>
</citation>
: ”James T. Powers has all the clever lines…[T]he humor is always refined and clean. Never does the librettist descend to the barroom for a glass of somewhat spoiled and ill-smelling jokes, as has been the case in…several other productions.” A review of <italic>Fantana</italic>
 in Boston praised Jefferson De Angelis, the comic star of that performance, by emphasizing, “He is less the buffoon, less strenuously acrobatic than he used to be, and both these improvements in his deportment are to be heartily commended. A certain all-round cleverness and a capacity for constant hard work are really his stock in trade.” “Boston Theatre: ‘Fantana,’” <italic>Fantana</italic>
 clippings file, New York Public Library for the Performing Arts.</p>
</fn>
<fn id="fn24" symbol="24"><label><sup>24</sup>
</label>
<p>On the male world of sociability and license extending into the late 1800s see
<citation id="ref037" citation-type="book"><name><surname>Gilfoyle</surname>
<given-names>Timothy J.</given-names>
</name>
, <source>City of Eros: New York City, Prostitution, and the Commercialisation of Sex, 1790-1920</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1992</year>
), <fpage>224</fpage>
–32</citation>
;
<citation id="ref038" citation-type="book"><name><surname>Chudacoff</surname>
<given-names>Howard</given-names>
</name>
, <source>The Age of the Bachelor: Creating an American Subculture</source>
 (<publisher-loc>Princeton</publisher-loc>
, <year>1999</year>
), <fpage>133</fpage>
–34</citation>
. On the efforts of vaudeville theaters to draw women as proof of their respectability, see
<citation id="ref039" citation-type="book"><name><surname>Kibler</surname>
<given-names>M. Alison</given-names>
</name>
, <source>Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville</source>
 (<publisher-loc>Chapel Hill</publisher-loc>
, <year>1999</year>
), <fpage>30</fpage>
–<lpage>31</lpage>
</citation>
.</p>
</fn>
<fn id="fn25" symbol="25"><label><sup>25</sup>
</label>
<p><citation id="ref040" citation-type="other"><name><surname></surname>
<given-names>Dale</given-names>
</name>
, “Enter the New School of Comic Opera Humor,” <fpage>22</fpage>
</citation>
.</p>
</fn>
<fn id="fn26" symbol="26"><label><sup>26</sup>
</label>
<p><citation id="ref041" citation-type="other"><name><surname></surname>
<given-names>Kibler</given-names>
</name>
, <italic>Rank Ladies</italic>
, <fpage>30</fpage>
–<lpage>31</lpage>
</citation>
.</p>
</fn>
<fn id="fn27" symbol="27"><label><sup>27</sup>
</label>
<p>Sidney Jones, Owen Hall, Harry Greenbank, et al., <italic>The Geisha</italic>
, vocal score in Tams-Witmark Collection, University of Wisconsin-Madison.</p>
</fn>
<fn id="fn28" symbol="28"><label><sup>28</sup>
</label>
<p><citation id="ref042" citation-type="other">“A Talk with Jefferson De Angelis on Comic Opera,” <italic>Chicago American</italic>
, Oct. 6, <year>1901</year>
</citation>
, De Angelis clippings file, New York Public Library for the Performing Arts.</p>
</fn>
<fn id="fn29" symbol="29"><label><sup>29</sup>
</label>
<p><citation id="ref043" citation-type="other"><name><surname></surname>
<given-names>Dale</given-names>
</name>
, “Enter the New School of Comic Opera Humor,” <fpage>22</fpage>
</citation>
;
<citation id="ref044" citation-type="other"><name><surname>Pierce</surname>
<given-names>L. Frank</given-names>
</name>
, “George Ade Talks of His Stage Ideals,” <italic>Theatre</italic>
 (November <year>1904</year>
): <fpage>287</fpage>
–88</citation>
</p>
</fn>
<fn id="fn30" symbol="30"><label><sup>30</sup>
</label>
<p><citation id="ref045" citation-type="book"><name><surname>Belasco</surname>
<given-names>David</given-names>
</name>
, <source>The Theatre Through its Stage Door</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1919</year>
), <fpage>226</fpage>
</citation>
;
<citation id="ref046" citation-type="other"><name><surname>Belasco</surname>
<given-names>David</given-names>
</name>
, “How I Stage My Plays” <italic>Theatre</italic>
 (December <year>1902</year>
): <fpage>31</fpage>
</citation>
.</p>
</fn>
<fn id="fn31" symbol="31"><label><sup>31</sup>
</label>
<p><citation id="ref047" citation-type="book"><name><surname>Bourdieu</surname>
<given-names>Pierre</given-names>
</name>
, <source>Distinction: A Social Critique of the judgement of Taste</source>
, trans. <name><surname>Nice</surname>
<given-names>Richard</given-names>
</name>
 (<publisher-loc>Cambridge, Mass.</publisher-loc>
, <year>1984</year>
), <fpage>5</fpage>
–<lpage>7</lpage>
, 54</citation>
. My discussion here owes a debt to Jenkins, who also cites Bourdieu in positioning Belasco's realism against vaudeville's aesthetics.
<citation id="ref048" citation-type="other"><name><surname></surname>
<given-names>Jenkins</given-names>
</name>
, <italic>What Made Pistachio Nuts</italic>
, 43-45, <fpage>67</fpage>
</citation>
.</p>
</fn>
<fn id="fn32" symbol="32"><label><sup>32</sup>
</label>
<p><citation id="ref049" citation-type="other"><name><surname>Eaton</surname>
<given-names>Walter Pritchard</given-names>
</name>
, “The Tired Businessman,” <italic>The Green Book Album</italic>
 (June <year>1910</year>
): <fpage>1293</fpage>
–94</citation>
;
<citation id="ref050" citation-type="book"><name><surname>Butsch</surname>
<given-names>Richard</given-names>
</name>
, <source>The Making of American Audiences: From Stage to Television</source>
 (<publisher-loc>New York</publisher-loc>
, <year>2000</year>
), <fpage>114</fpage>
</citation>
; on the range of audiences and ticket prices for vaudeville, also see
<citation id="ref051" citation-type="other"><name><surname></surname>
<given-names>Kibler</given-names>
</name>
, <italic>Rank Ladies</italic>
, <fpage>25</fpage>
–<lpage>27</lpage>
</citation>
.</p>
</fn>
<fn id="fn33" symbol="33"><label><sup>33</sup>
</label>
<p><citation id="ref052" citation-type="other"><name><surname></surname>
<given-names>Lederer</given-names>
</name>
, “The Evolution of Musical Comedy,” <fpage>1194</fpage>
</citation>
. All of the above quotations appear i n these articles in the George Lederer envelope, Robinson Locke Collection, New York Public Library for the Performing Arts:
<citation id="ref053" citation-type="other">“George W Lederer—Here He is Again!” <italic>New York Sunday Telegraph</italic>
, May 22, <year>1904</year>
</citation>
; “In the Realm of Light Opera—George W Lederer Maintains that Public Demands Better Musical Productions than Ever Before”; “Lederer in Audience Learns Good Lesson.”</p>
</fn>
<fn id="fn34" symbol="34"><label><sup>34</sup>
</label>
<p><citation id="ref054" citation-type="other"><name><surname>Savage</surname>
<given-names>Henry</given-names>
</name>
, “American Managers and Players,” <italic>Harper's Weekly</italic>
, Dec. 3, <year>1904</year>
, <fpage>1847</fpage>
</citation>
.</p>
</fn>
<fn id="fn35" symbol="35"><label><sup>35</sup>
</label>
<p>In emphasizing early musical comedy's actively anti-realist character, I mean to point to the nearly complete inability of surveys and scholarly treatments of the form to grasp the cultural contingencies of value within which it operated. Typically, these early productions are dismissed as failures for their failure to integrate song with narrative and to “rise” to naturalistic standards. So, for example,
<citation id="ref055" citation-type="other"><name><surname>Smith</surname>
<given-names>Cecil</given-names>
</name>
 sees <name><surname>Kern's</surname>
<given-names>Jerome</given-names>
</name>
 <italic>Show Boat</italic>
, staged in <year>1927</year>
</citation>
, as the first “masterpiece” of musical comedy because it emphasized “dramatic verisimilitude comparable to that of the speaking stage.” Gerald Bordman agrees that <italic>Showhoat</italic> “presented possibly the most important breakthrough in the history of our musical stage…[I]t was the first real ‘musical play’: a lyric piece…about essentially everyday people.”
<citation id="ref056" citation-type="other"><name><surname></surname>
<given-names>Bordman</given-names>
</name>
, <italic>American Musical Theater</italic>
, <fpage>435</fpage>
</citation>
;
<citation id="ref057" citation-type="other"><name><surname></surname>
<given-names>Smith</given-names>
</name>
 and <name><surname></surname>
<given-names>Litton</given-names>
</name>
, <italic>Musical Comedy in America</italic>
, <fpage>158</fpage>
</citation>
.</p>
</fn>
<fn id="fn36" symbol="36"><label><sup>36</sup>
</label>
<p><citation id="ref058" citation-type="book"><name><surname>Poggi</surname>
<given-names>John</given-names>
</name>
, <source>Theater in America: The Impact of Economic Forces, 1870-1976</source>
 (<publisher-loc>Ithaca</publisher-loc>
, <year>1966</year>
), 3-7, <fpage>26</fpage>
–<lpage>27</lpage>
</citation>
;
<citation id="ref059" citation-type="book"><name><surname>Bernheim</surname>
<given-names>Alfred</given-names>
</name>
, <source>The Business of the Theatre</source>
 (<year>1932</year>
, repr. <publisher-loc>New York</publisher-loc>
, <year>1964</year>
), <fpage>31</fpage>
–<lpage>34</lpage>
</citation>
.</p>
</fn>
<fn id="fn37" symbol="37"><label><sup>37</sup>
</label>
<p><citation id="ref060" citation-type="other"><name><surname></surname>
<given-names>Poggi</given-names>
</name>
, <italic>Theater in America</italic>
 <fpage>27</fpage>
</citation>
;
<citation id="ref061" citation-type="other"><name><surname></surname>
<given-names>Bernheim</given-names>
</name>
, <italic>Business of the Theatre</italic>
, <fpage>31</fpage>
</citation>
; Minnie Ashley scrap book, Robinson Locke Collection, New York Public Library for the Performing Arts; “It Cost Money to Play <italic>Fantana” Fantana</italic>
 clippings file, New York Public Library for the Performing Arts; “Gay Colors Riot in New Opera ‘<italic>Fantana”’ Fantana</italic> clippings file, New York Public Library for the Performing Arts. For more comments on the expense of producing musical comedy see, for example,
<citation id="ref062" citation-type="other"><name><surname></surname>
<given-names>Archer</given-names>
</name>
, <italic>The Blight on the Drama</italic>
, <fpage>643</fpage>
</citation>
;
<citation id="ref063" citation-type="other"><name><surname>Gaites</surname>
<given-names>Joseph M.</given-names>
</name>
, “The Theatrical Producer,” <italic>The Green Book Album</italic>
 (June <year>1911</year>
): <fpage>1309</fpage>
</citation>
.</p>
</fn>
<fn id="fn38" symbol="38"><label><sup>38</sup>
</label>
<p><citation id="ref064" citation-type="other"><name><surname>Fiske</surname>
<given-names>Minnie Maddern</given-names>
</name>
, “Ibsen vs. ‘Humpty Dumpty,’” <italic>Harper's Weekly</italic>
, Feb. 4, <year>1905</year>
, 6<fpage>0</fpage>
–<lpage>61</lpage>
</citation>
.
<citation id="ref065" citation-type="other"><name><surname></surname>
<given-names>Fiske</given-names>
</name>
, “Art vs. Commercialism,” <italic>Theatre</italic>
 (October <year>1903</year>
): <fpage>236</fpage>
</citation>
.</p>
</fn>
<fn id="fn39" symbol="39"><label><sup>39</sup>
</label>
<p><citation id="ref066" citation-type="book"><name><surname>Marks</surname>
<given-names>Edward</given-names>
</name>
, <source>They All Sang: From Tony Pastor to Rudy Valee</source>
 (<publisher-loc>New York</publisher-loc>
, <year>1934</year>
), <fpage>3</fpage>
</citation>
.</p>
</fn>
<fn id="fn40" symbol="40"><label><sup>40</sup>
</label>
<p><citation id="ref067" citation-type="other"><name><surname></surname>
<given-names>Marks</given-names>
</name>
, <italic>They All Sang</italic>
, <fpage>114</fpage>
–15</citation>
.</p>
</fn>
<fn id="fn41" symbol="41"><label><sup>41</sup>
</label>
<p><citation id="ref068" citation-type="other"><name><surname></surname>
<given-names>Lamb</given-names>
</name>
, <italic>Leslie Stuart</italic>
, <fpage>171</fpage>
–72</citation>
. Also see Lamb's notes to the Hyperion recording of
<citation id="ref069" citation-type="other"><italic>the Geisha</italic>
 issued in <year>1999</year>
</citation>
.</p>
</fn>
<fn id="fn42" symbol="42"><label><sup>42</sup>
</label>
<p>The corporate revision of shows to meet audience tastes extended well beyond the score to all aspects of the show: costuming, the book, performers, etc. For more on this convention see
<citation id="ref070" citation-type="other"><name><surname>Winslow</surname>
<given-names>Philip</given-names>
</name>
, “The Man Behind the ‘Book,’” <italic>The Green Book Album</italic>
 (October <year>1911</year>
): <fpage>855</fpage>
–56</citation>
;
<citation id="ref071" citation-type="other"><name><surname>Davis</surname>
<given-names>Colin</given-names>
</name>
, “The Musical Comedy Doctor,” <italic>The Green Book Album</italic>
 (April <year>1909</year>
): <fpage>870</fpage>
</citation>
. Davis writes, “[The musical comedy doctor] is usually called in the morning after the first performance and the librettist and the composer hold themselves by main force as he unfeelingly overhauls their offspring.”</p>
</fn>
<fn id="fn43" symbol="43"><label><sup>43</sup>
</label>
<p><italic>Florodora</italic>
 program, Dartmouth College Theatre Collection.</p>
</fn>
<fn id="fn44" symbol="44"><label><sup>44</sup>
</label>
<p><citation id="ref072" citation-type="book"><name><surname>Rappaport</surname>
<given-names>Erika</given-names>
</name>
, <source>Shopping for Pleasure: Women in the Making of London's West End</source>
 (<publisher-loc>Princeton</publisher-loc>
, <year>2000</year>
), <fpage>184</fpage>
</citation>
; also see,
<citation id="ref073" citation-type="other"><name><surname></surname>
<given-names>Bailey</given-names>
</name>
, “Naughty but Nice,” <fpage>42</fpage>
</citation>
.</p>
</fn>
<fn id="fn45" symbol="45"><label><sup>45</sup>
</label>
<p>Englander and Smith, <italic>The Rich Mr Hoggenheimer</italic>
.</p>
</fn>
<fn id="fn46" symbol="46"><label><sup>46</sup>
</label>
<p><italic>The Casino Girl</italic>
, Tams-Witmark Collection.</p>
</fn>
<fn id="fn47" symbol="47"><label><sup>47</sup>
</label>
<p><citation id="ref074" citation-type="other"><italic>The New York Dramatic Mirror</italic>
, Sept 10, <year>1904</year>
</citation>
.</p>
</fn>
</fn-group>
</back>
</article>
</istex:document>
</istex:metadataXml>
<mods version="3.6"><titleInfo><title>Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
</titleInfo>
<titleInfo type="alternative"><title>Journal of the Gilded Age and Progressive Era / October 2005</title>
</titleInfo>
<titleInfo type="alternative" contentType="CDATA"><title>Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904</title>
</titleInfo>
<name type="personal"><namePart type="given">Michael</namePart>
<namePart type="family">Newbury</namePart>
<affiliation>Middlebury College</affiliation>
<role><roleTerm type="text">author</roleTerm>
</role>
<description>Michael Newbury is an associate professor of American literature and civilization at Middlebury College in Vermont and the author of Figuring Authorship in Antebellum America (Stanford, 1997). His current work centers on musical comedy and American culture.</description>
</name>
<typeOfResource>text</typeOfResource>
<genre type="research-article" displayLabel="research-article" authority="ISTEX" authorityURI="https://content-type.data.istex.fr" valueURI="https://content-type.data.istex.fr/ark:/67375/XTP-1JC4F85T-7">research-article</genre>
<originInfo><publisher>Cambridge University Press</publisher>
<place><placeTerm type="text">Cambridge, UK</placeTerm>
</place>
<dateIssued encoding="w3cdtf">2005-10</dateIssued>
<copyrightDate encoding="w3cdtf">2005</copyrightDate>
</originInfo>
<language><languageTerm type="code" authority="iso639-2b">eng</languageTerm>
<languageTerm type="code" authority="rfc3066">en</languageTerm>
</language>
<abstract type="text-abstract">In 1903, Alan Dale, the theater critic for the New York American and Journal, when contemplating the state of the American stage, came to the conclusion that “the only national theatre I can find, after severe cogitation, is that beautiful, flip, and classic commodity known as musical comedy.” Dale pointed out that musical comedy's exorbitant popularity was a recent development, emerging only in the previous five or ten years, and that his anointing of the form as the national theater would not sit well with more serious-minded devotees of drama. “Well read gentlemen with heavy minds,” wrote Dale, would prefer different sorts of productions, plays that “mere commercial managers don't want to stage and mere amusement seekers don't want to see.” Seeking an improbable bridge over this cultural divide, Dale suggested that “[Henrik] Ibsen might air his neat little views on heredity in happy verse set to music…[His] favorite subject of maggots on the brain” could feature a “chorus of pretty girls disguised as maggots.”</abstract>
<relatedItem type="host"><titleInfo><title>The Journal of the Gilded Age and Progressive Era</title>
</titleInfo>
<titleInfo type="abbreviated"><title>J. gilded age prog. era</title>
</titleInfo>
<genre type="journal" authority="ISTEX" authorityURI="https://publication-type.data.istex.fr" valueURI="https://publication-type.data.istex.fr/ark:/67375/JMC-0GLKJH51-B">journal</genre>
<identifier type="ISSN">1537-7814</identifier>
<identifier type="eISSN">1943-3557</identifier>
<identifier type="PublisherID">JGA</identifier>
<part><date>2005</date>
<detail type="volume"><caption>vol.</caption>
<number>4</number>
</detail>
<detail type="issue"><caption>no.</caption>
<number>4</number>
</detail>
<extent unit="pages"><start>381</start>
<end>407</end>
<total>27</total>
</extent>
</part>
</relatedItem>
<identifier type="istex">F22B9C785485246C244E2A3FF9F278DD54D88F63</identifier>
<identifier type="ark">ark:/67375/6GQ-5G6ZL07G-S</identifier>
<identifier type="DOI">10.1017/S1537781400002760</identifier>
<identifier type="PII">S1537781400002760</identifier>
<identifier type="ArticleID">00276</identifier>
<accessCondition type="use and reproduction" contentType="copyright">Copyright © Society for Historians of the Gilded Age and Progressive Era 2005</accessCondition>
<recordInfo><recordContentSource authority="ISTEX" authorityURI="https://loaded-corpus.data.istex.fr" valueURI="https://loaded-corpus.data.istex.fr/ark:/67375/XBH-G3RCRD03-V">cambridge</recordContentSource>
<recordOrigin>Copyright © Society for Historians of the Gilded Age and Progressive Era 2005</recordOrigin>
</recordInfo>
</mods>
<json:item><extension>json</extension>
<original>false</original>
<mimetype>application/json</mimetype>
<uri>https://api.istex.fr/document/F22B9C785485246C244E2A3FF9F278DD54D88F63/metadata/json</uri>
</json:item>
</metadata>
<serie></serie>
</istex>
</record>

Pour manipuler ce document sous Unix (Dilib)

EXPLOR_STEP=$WICRI_ROOT/Wicri/Psychologie/explor/BernheimV1/Data/Istex/Corpus

HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000951 | SxmlIndent | more

HfdSelect -h $EXPLOR_AREA/Data/Istex/Corpus/biblio.hfd -nk 000951 | SxmlIndent | more

Pour mettre un lien sur cette page dans le réseau Wicri

{{Explor lien
   |wiki=    Wicri/Psychologie
   |area=    BernheimV1
   |flux=    Istex
   |étape=   Corpus
   |type=    RBID
   |clé=     ISTEX:F22B9C785485246C244E2A3FF9F278DD54D88F63
   |texte=   Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904
}}

This area was generated with Dilib version V0.6.33.
Data generation: Mon Mar 5 17:33:33 2018. Site generation: Thu Apr 29 15:49:51 2021

	Serveur d'exploration Hippolyte Bernheim
	Attention, ce site est en cours de développement ! Attention, site généré par des moyens informatiques à partir de corpus bruts. Les informations ne sont donc pas validées.

Serveur d'exploration Hippolyte Bernheim

Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904

Polite Gaiety: Cultural Hierarchy and Musical Comedy, 1893-1904

Source :

Abstract

Links to Exploration step

Le document en format XML

Pour manipuler ce document sous Unix (Dilib)

Pour mettre un lien sur cette page dans le réseau Wicri