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[edit] Burlesque in literary criticismIn literary criticism, the term burlesque is employed in genre criticism to describe any imitative work that derives humor from an incongruous contrast between style and subject. In this usage, forms of satire such as parody are types of burlesque (Abrams, 1999). The term came into English usage in the seventeenth century, through French from Italian burla, a trick or joke, burlesca. The word first appears in a title in Francesco Berni's Opere Burlesche, works that had circulated widely in manuscript before they were printed. For a time burlesque verses were known as poesie bernesca in his honour. In this primary usage, High burlesque refers to a burlesque imitation where a serious style is applied to commonplace or comically inappropriate subject matter — as, for example, in the literary parody and the mock-heroic. Low burlesque applies an irreverent, mocking style to a serious subject; an example is Samuel Butler's Hudibras, which describes the misadventures of a Puritan knight in satiric doggerel verse, using a colloquial idiom. Pure burlesque is simply comedy; the addition of Butler's ethical subtext has made his caricatures into satire. A burlesque literary performance is intentionally ridiculous in that it imitates several styles and combined imitations of certain authors and artists with absurd descriptions. In this, the term burlesque was often used interchangeably with 'pastiche', 'parody', and the seventeenth and eighteenth century genre of the 'mock-heroic'. Burlesque is an inherently social form, one that depends on the reader's contextual expectations. When a reader approaches burlesque without expectations, and the comedy needs to be explicated in a preface and annotations, the effect is blunted. [edit] Musical burlesque
The name "Burlesque" is derived from the Italian burla, which means "jest." The form began as comic parodies of well-known topics or people.[1] On stage, the burlesque or travesty was a logical descendant of ballad opera and other forms of musical entertainments. Musical burlesque started with Madame Vestris' management at the Olympic Theatre in 1831. There she produced Olympic Revels by J. R. Planché. In the early burlesques, the words of the songs were written to popular music in the same way that had been done earlier in The Beggar's Opera. Later, in the Victorian era, burlesque mixed operetta, music hall and revue, and was often known as Extravaganza.[2] Burlesque became the specialty of London's Gaiety Theatre from the 1860s through the 1880s, and composers like Meyer Lutz and Osmond Carr contributed original music. The dialogue was written in the form of rhymed couplets, and was full of bad puns. For example, in Faust up to Date (1888), a couplet reads:
Ruy Blas and the Blase Roue made fun of the play Ruy Blas by Victor Hugo.[4] The title was a pun, and the worse the pun, the more Victorian audiences were amused.[2] Other Gaiety burlesques included Robert the Devil (1868), The Bohemian G-yurl and the Unapproachable Pole (1877), Don Juan, Blue Beard, Ariel (1883, by F. C. Burnand), Galatea, or Pygmalion Reversed (1883), Little Jack Sheppard (1885), Pretty Esmeralda (1887), Frankenstein, or The Vampire's Victim (1887),[5] Mazeppa, Carmen up to Data (1890),[6][7] and Cinder Ellen up too Late (1891).[8][9] Nellie Farren, as the theatre's "principal boy," and Fred Leslie starred at the Gaiety for over 20 years during that period, and Leslie wrote many of these pieces under his pseudonym, "A. C. Torr".[10] In the early 1990s, musical Burlesque went out of fashion, and the Gaiety Theatre's focus changed to the new genre of Edwardian musical comedy. To compete with vaudeville and revues like the Ziegfeld Follies, burlesque became increasingly racy after 1900.[1] [edit] See also[edit] Notes
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