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'Such fantasy, such harlequinade': Ziegfeld, class and the cultural hierarchy (Florenz Ziegfeld, Jr.).

机译:“这样的幻想,这样的丑角”:齐格菲,阶级和文化等级(弗洛伦茨·齐格菲,小)。

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摘要

The Ziegfeld Follies series, which ran almost annually from 1907 through 1931, is remembered primarily for showgirls, extravagant production values, and its producer, Florenz Ziegfeld, Jr. In this dissertation, I argue that the prestige the Ziegfeld Follies are remembered as having was the direct result of economic and social forces as much, if not more so, than the artistic genius of a man or the on-stage uniqueness of the Follies. These economic and social forces included, but were not limited to, career opportunities open to Ziegfeld; the battle between the Theatrical Trust (the Syndicate) and the Shubert brothers; the prosperity of the Syndicate in general and its need to have a high-profile financially-successful hit in its flagship theatre; the business success of vaudeville's United Booking Office; the economics and social status of summer roof garden shows; the structure and calendar of vaudeville; the structure and calendar of the legitimate theatre industry; the business environment that kept upwardly mobile businessmen---members of the professional managerial class---in the city during the week while their wives and children "summered" away from the city and the automobiles and public transportation that made such commuting possible; the explosion in popular magazines; the revenue-generating necessities of a magazine dedicated to reporting on the New York theatre scene; and the burgeoning advertising and marketing environment.; These factors share at least equal footing with the beauty of the Ziegfeld chorus and the opulence of the Follies' production values in securing Ziegfeld's reputation and status within the prevailing cultural hierarchy, even if the pretty details were what was publicized then and all that is remembered now. Indeed, the relationship between the economic factors surrounding the production of the Follies and the cultural status of those productions was intertwined and complicated, and, furthermore, this relationship had---and still has---everything to do with class. Ultimately this dissertation argues that the mystical positioning of Ziegfeld in American theatre history is tied to the rise and concerns of the professional managerial class, and through our roles as academics, theatre historians are implicated in that positioning.
机译:Ziegfeld Follies系列(从1907年到1931年几乎每年播出一次)被记住,主要是为歌舞女郎,奢侈的生产价值及其制作人Florenz Ziegfeld,Jr。在这篇论文中,我认为Ziegfeld Follies的声望是经济和社会力量的直接结果,甚至比人类的艺术天才或愚人在舞台上的独特性要大得多,甚至更多。这些经济和社会力量包括但不限于向齐格菲开放的职业机会;剧院信托(辛迪加)与舒伯特兄弟之间的战斗;整个辛迪加的繁荣以及其旗舰剧院需要在财务上取得成功的重大打击;杂耍联合预订办事处的业务成功;夏季屋顶花园表演的经济和社会地位;杂耍表演的结构和日历;合法剧院业的结构和日历;一周之内,在商业环境中,向上流动的商人-专业管理阶层的成员-在城市中生活,而他们的妻子和孩子则“离开”城市,而汽车和公共交通使这种通勤成为可能;流行杂志的爆炸式增长;一本致力于纽约剧院现场报道的杂志的创收必要性;以及蓬勃发展的广告和营销环境。这些因素至少与齐格菲合唱团的美丽和愚蠢的生产价值在确保齐格菲德在当时的文化等级中的声誉和地位方面具有同等地位,即使当时已经公布了相当多的细节,也记住了一切现在。的确,围绕愚人的生产而来的经济因素与这些生产的文化地位之间的关系是相互交织和复杂的,而且,这种关系与-而且仍然与-与阶级有关。最终,本文论证了齐格菲在美国戏剧史上的神秘定位与职业管理阶层的兴起和关注有关,并且通过我们作为学者的角色,戏剧历史学家也参与了这一定位。

著录项

  • 作者

    Wilson, Marion E.;

  • 作者单位

    City University of New York.;

  • 授予单位 City University of New York.;
  • 学科 American Studies.; Theater.
  • 学位 Ph.D.
  • 年度 2005
  • 页码 186 p.
  • 总页数 186
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类 F17;TU242;
  • 关键词

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