Music Hall - Revision history

Satj: Redirected page to Music hall

2019-04-13T04:42:06Z

Redirected page to Music hall

Satj at 04:39, 13 April 2019

2019-04-13T04:39:06Z

Satj: /* Some South African Venues */

2019-02-01T05:48:58Z

Some South African Venues

Satj: /* Bio-vaudeville and bio-vaudeville houses in South Africa */

2019-02-01T05:47:36Z

Bio-vaudeville and bio-vaudeville houses in South Africa

Satj at 05:47, 1 February 2019

2019-02-01T05:47:16Z

Satj: /* South African variety artists */

2019-02-01T05:46:28Z

South African variety artists

Satj: /* South African variety artists */

2019-02-01T05:45:52Z

South African variety artists

Satj: /* Music Hall, Variety and Vaudeville in South Africa */

2019-02-01T05:45:38Z

Music Hall, Variety and Vaudeville in South Africa

Satj: /* South African variety artists */

2019-02-01T05:45:15Z

South African variety artists

Satj: /* Music Hall, Variety and Vaudeville in South Africa */

2019-02-01T05:44:48Z

Music Hall, Variety and Vaudeville in South Africa

← Older revision		Revision as of 04:42, 13 April 2019
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−	~~The term [[Music Hall]] may refer to a physical building or [[venue]], or to a form of theatrical and musical presentation.~~	+	#REDIRECT[[Music hall]]
−
−
−	~~=[[Music Hall]] as the name of a venue =~~
−
−
−	Originally [[music hall]] was a literal reference to the hall generally used for any kind of musical and other (musical) presentation, e.g. in a tavern or a public building. It thus gradually became the ''name'' given to a '''specific''' venue, also in South Africa.
−
−	As the notion of "music hall" as a theatrical form took shape, these venues gradually developed into gilt-and-plush “palaces” devoted to comic songs, varied with acrobatics, conjuring, juggling, and dancing. These "temples", "palaces" or "theatres" intended to host such variety shows were called music-halls in England and France. (In the USA the terms '''[[Variety]]''' - and later '''[[Vaudeville]]''' - were appended to the name of a hall.)
−
−	~~Large numbers of music halls were built in England in the second half of the 19th century and a few also in South Africa.~~
−
−
−	~~== Some South African Venues ==~~
−
−	The [[music hall]] style performances themselves were popular in South Africa throughout the nineteenth century, often presented by visiting military units and most probably the huge influence of the first visit by the [[Christy's Minstrels]], The music hall tradition really took hold round about the 1880’s when a number of entrepreneurs opened ''variety'' establishments in Cape Town and elsewhere, though interesting enough often using the American terms as well.
−
−	~~===Music halls and other venues===~~
−
−	Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].
−
−	[[The Music Hall]] on Church Square, Cape Town, was apparently used mostly for (serious) musical and other performances and meetings of various societies in the 1860s, including the [[Total Abstinence Society]].
−
−	~~[[The Music Hall]], Johannesburg, was a theatre built and operated by [[Luscombe Searelle]] in 1890s and taken over by [[Frank de Jongh]] round about 1898.~~
−
−	~~When music-hall venues dispensed with individual supper-tables to adapt to conventional theatre seating, many were renamed (e.g. [[Tivoli Theatre of Varieties]], [[Empire Palace of Varieties]] ,~~
−
−
−	~~===[[Bio-vaudeville]] and bio-vaudeville houses in South Africa===~~
−
−	Bio-vaudeville houses were specifically built in the early 20th century to present '''both''' films and variety acts within the same programme (examples: The [[Criterion]], 1912, Durban; The [[Palladium]], 1913, Johannesburg).
−
−	~~See further '''[[Bio-vaudeville]]'''~~
−
−	~~=[[Music Hall]] as form of presentation =~~
−
−	[[Music-hall]] is a British term that came to refer to the form of presentation and generally refers to a form of entertainment deriving from song-and-dance and recitation shows of early 19th century public houses in England.
−
−	In France and the USA the term [[Vaudeville]] was more common, while the self-evident term [[Variety]] was later introduced in both Britain and the USA, with approximately the same meaning, in formulations such as "Variety shows", "variety arts", "variety entertainment" or quite simply "variety". In some cases the term [[cabaret]] is also found as an alternative named for a similar piece of entertainment.
−
−
−	In South Africa these forms arrived largely through the [[music hall]] and [[minstrel]] traditions introduced by artists and [[impresario]]s from England and the dominions, followed by a number of American [[vaudeville]] stars who visited the country in the early years of the 20th century.
−
−
−	~~== [[Music Hall]], [[Variety]] and [[Vaudeville]] in South Africa ==~~
−
−
−	~~=== The beginnings ===~~
−
−
−	The [[music hall]] style performances themselves were popular in South Africa throughout the nineteenth century, often presented by visiting military units and most probably the huge influence of the first visit by the [[Christy's Minstrels]], the music hall tradition really took hold round about the 1880’s when a number of entrepreneurs opened ''variety'' establishments in Cape Town and elsewhere, though interesting enough often using the American terms as well.
−
−	Because [[Music Hall]] and [[Variety]] relied on the attraction, generally, of an imported performer as top of the bill with local supporting acts, the country has over the years hosted numerous international luminaries. In the late 19th and early 20th century for example performers such as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]] appeared on South African music hall stages.
−
−	In later years, under apartheid, this importation of international stars was hampered somewhat by the international cultural boyuycott, yet prior to the advent of television broadcasting in 1976, impresarios such as [[Jim Stodel]] and [[Pieter Toerien]] managed to arrange visits for [[Danny Kaye]], [[Marcel Marceau]], [[Liberace]], [[Marlene Dietrich]], [[Shelley Berman]], among others, and the
−
−	~~===South African variety shows and performers===~~
−
−	South African variety performer/presenters include Eve Boswell, and Joan Brickhill and Louis Burke (the Minstrels and Follies series during the 1970's).Vaudeville and music-hall have been largely replaced by revue, musical comedy and television variety specials. * However, another important form of this tradition is what Loren Kruger (1999) calls African variety. With this she refers to a range of popular performance forms – mainly concerts and sketches - that she sees evolving in the urban black life from about the 1920’s. This seems to have drawn on such diverse influences as the commercial entertainments of European and American/African American culture, the ingoma and later ingoma ebusuku, Eisteddfodau, missionary choirs, rural modes of storytelling, praises, minstrelsy, “tribal sketches” and other vaudeville gags, and so on. Clearly is an influence on the evolution of the “township musical” and even more serious work such as Woza Albert and Sizwe Banzi is Dead. Among the major figures to work in or be influenced by this tradition she lists Griffiths Motsieloa, Todd Matshikiza, Gibson Kente, Mbongeni Ngema and Walter Chakela. (McM) (See: Gutsche, 1972, ) (See also Music-hall in South Africa , African Variety and Vaudeville above.)
−
−
−	Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].
−
−	~~When music-hall venues dispensed with individual supper-tables to adapt to conventional theatre seating, many were renamed (e.g. [[Tivoli Theatre of Varieties]], [[Empire Palace of Varieties]] ,~~
−
−	In the early twentieth century, [[Bio-vaudeville houses]] were built to present films and variety acts within the same programme (Criterion*, 1912, Durban; Palladium, 1913, Johannesburg). [[Music Hall]] and [[Variety]] relied on the attraction, generally, of an imported performer as top of the bill with local supporting acts.
−
−	Prior to the advent of television broadcasting in 1976, [[Danny Kaye]], [[Marcel Marceau]], Liberace, Marlene Dietrich, Shelley Berman, among others, were imported by such impresarios as Jim Stodel and Pieter Toerien.
−
−	~~== African Variety ==~~
−
−
−	~~=== Township music hall traditions ===~~
−
−	~~See for example [[African Own Entertainers]],~~
−
−	~~=== Mid-century music hall ===~~
−
−
−
−	~~See also '''[[Cabaret]]'''~~
−
−
−
−
−	~~Return to [[South_African_Theatre/Themes\|South African Theatre Terminology and Thematic Entries]]~~
−
−	~~Return to [[The ESAT Entries]]~~
−
−	~~Return to [[Main Page]]~~
−
−
−
−
−
−
−
−
−	~~== Sources ==~~
−
−	~~Fletcher, 1994; Kaplan and Robertson, 1991, Stodel, 1962~~
−
−	~~== For more information ==~~
−
−	~~See also~~ [[Music hall]]
−
−	~~== Return to ==~~
−
−
−	~~Return to [[South_African_Theatre/Venues\|South African Theatre Venues, Companies, Societies, etc ]]~~
−
−	~~Return to [[The ESAT Entries]]~~
−
−	~~Return to [[Main Page~~]]

← Older revision		Revision as of 04:39, 13 April 2019
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−	Originally ''music hall'' was a literal reference to the hall generally used for any kind of musical and other (musical) presentation, e.g. in a tavern or a public building. It thus gradually became the ''name'' given to a '''specific''' venue, also in South Africa.	+	Originally [[music hall]] was a literal reference to the hall generally used for any kind of musical and other (musical) presentation, e.g. in a tavern or a public building. It thus gradually became the ''name'' given to a '''specific''' venue, also in South Africa.

	As the notion of "music hall" as a theatrical form took shape, these venues gradually developed into gilt-and-plush “palaces” devoted to comic songs, varied with acrobatics, conjuring, juggling, and dancing. These "temples", "palaces" or "theatres" intended to host such variety shows were called music-halls in England and France. (In the USA the terms '''[[Variety]]''' - and later '''[[Vaudeville]]''' - were appended to the name of a hall.)		As the notion of "music hall" as a theatrical form took shape, these venues gradually developed into gilt-and-plush “palaces” devoted to comic songs, varied with acrobatics, conjuring, juggling, and dancing. These "temples", "palaces" or "theatres" intended to host such variety shows were called music-halls in England and France. (In the USA the terms '''[[Variety]]''' - and later '''[[Vaudeville]]''' - were appended to the name of a hall.)

@@ Line 15: / Line 15: @@
 The [[music hall]] style performances themselves were popular in South Africa throughout the nineteenth century, often presented by visiting military units and most probably the huge influence of the first visit by the [[Christy's Minstrels]], The music hall tradition really took hold round about the 1880’s when a number of entrepreneurs opened ''variety'' establishments in Cape Town and elsewhere, though interesting enough often using the American terms as well.
 Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].
@@ Line 30: / Line 32: @@
 See further '''[[Bio-vaudeville]]'''
 =[[Music Hall]] as form of presentation =

← Older revision		Revision as of 05:47, 1 February 2019
Line 67:		Line 67:

	Prior to the advent of television broadcasting in 1976, [[Danny Kaye]], [[Marcel Marceau]], Liberace, Marlene Dietrich, Shelley Berman, among others, were imported by such impresarios as Jim Stodel and Pieter Toerien.		Prior to the advent of television broadcasting in 1976, [[Danny Kaye]], [[Marcel Marceau]], Liberace, Marlene Dietrich, Shelley Berman, among others, were imported by such impresarios as Jim Stodel and Pieter Toerien.
−
−	~~===Bio-vaudeville and bio-vaudeville houses in South Africa===~~
−
−	Bio-vaudeville houses were specifically built in the early 20th century to present both films and variety acts within the same programme (examples: The [[Criterion]], 1912, Durban; The [[Palladium]], 1913, Johannesburg).
−
−	~~See further '''[[Bio-vaudeville]]'''~~

	== African Variety ==		== African Variety ==

@@ Line 55: / Line 55: @@
 In later years, under apartheid, this importation of international stars was hampered somewhat by the international cultural boyuycott, yet prior to the advent of television broadcasting in 1976, impresarios such as [[Jim Stodel]] and [[Pieter Toerien]] managed to arrange visits for [[Danny Kaye]], [[Marcel Marceau]], [[Liberace]], [[Marlene Dietrich]], [[Shelley Berman]], among others, and the
-==South African variety ==
+===South African variety shows and performers===
 South African variety performer/presenters include Eve Boswell, and Joan Brickhill and Louis Burke (the Minstrels and Follies series during the 1970's).Vaudeville and music-hall have been largely replaced by revue, musical comedy and television variety specials. * However, another important form of this tradition is what Loren Kruger (1999) calls African variety. With this she refers to a range of popular performance forms – mainly concerts and sketches - that she sees evolving in the urban black life from about the 1920’s. This seems to have drawn on such diverse influences as the commercial entertainments of European and American/African American culture, the ingoma and later ingoma ebusuku,  Eisteddfodau, missionary choirs, rural modes of storytelling,  praises, minstrelsy, “tribal sketches” and other vaudeville gags, and so on. Clearly is an influence on the evolution of the “township musical” and even more serious work such as Woza Albert and Sizwe Banzi is Dead.  Among the major figures to work in or be influenced by this tradition she lists Griffiths Motsieloa, Todd Matshikiza, Gibson Kente, Mbongeni Ngema and Walter Chakela. (McM) (See: Gutsche, 1972, ) (See also Music-hall in South Africa , African Variety and Vaudeville above.)

← Older revision		Revision as of 05:45, 1 February 2019
Line 56:		Line 56:

	==South African variety artists==		==South African variety artists==
		+
		+	South African variety performer/presenters include Eve Boswell, and Joan Brickhill and Louis Burke (the Minstrels and Follies series during the 1970's).Vaudeville and music-hall have been largely replaced by revue, musical comedy and television variety specials. * However, another important form of this tradition is what Loren Kruger (1999) calls African variety. With this she refers to a range of popular performance forms – mainly concerts and sketches - that she sees evolving in the urban black life from about the 1920’s. This seems to have drawn on such diverse influences as the commercial entertainments of European and American/African American culture, the ingoma and later ingoma ebusuku, Eisteddfodau, missionary choirs, rural modes of storytelling, praises, minstrelsy, “tribal sketches” and other vaudeville gags, and so on. Clearly is an influence on the evolution of the “township musical” and even more serious work such as Woza Albert and Sizwe Banzi is Dead. Among the major figures to work in or be influenced by this tradition she lists Griffiths Motsieloa, Todd Matshikiza, Gibson Kente, Mbongeni Ngema and Walter Chakela. (McM) (See: Gutsche, 1972, ) (See also Music-hall in South Africa , African Variety and Vaudeville above.)
		+

	Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].		Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].

@@ Line 53: / Line 53: @@
 Because [[Music Hall]] and [[Variety]] relied on the attraction, generally, of an imported performer as top of the bill with local supporting acts, the country has over the years hosted numerous international luminaries. In the late 19th and early 20th century for example performers such as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]] appeared on South African music hall stages.
 In later years, under apartheid, this importation of international stars was hampered somewhat by the international cultural boyuycott, yet prior to the advent of television broadcasting in 1976, impresarios such as [[Jim Stodel]] and [[Pieter Toerien]] managed to arrange visits for [[Danny Kaye]], [[Marcel Marceau]], [[Liberace]], [[Marlene Dietrich]], [[Shelley Berman]], among others, and the
 ==South African variety artists==

← Older revision		Revision as of 05:45, 1 February 2019
Line 58:		Line 58:

	==South African variety artists==		==South African variety artists==
		+
		+	Among the notable South African Music Halls have been the [[Trafalgar]]* (1850's, Durban), [[Burn's Music Hall]] (1880's, Kimberley), [[The Empire]] (1894, the first of three in Johannesburg) and [[The Tivoli]] (1903, Cape Town), hosting such performers as [[Charles du Val]], [[Marie Lloyd]], [[Little Tich]], [[George Robey]] and [[Harry Tate]].
		+
		+	When music-hall venues dispensed with individual supper-tables to adapt to conventional theatre seating, many were renamed (e.g. [[Tivoli Theatre of Varieties]], [[Empire Palace of Varieties]] ,
		+
		+	In the early twentieth century, [[Bio-vaudeville houses]] were built to present films and variety acts within the same programme (Criterion*, 1912, Durban; Palladium, 1913, Johannesburg). [[Music Hall]] and [[Variety]] relied on the attraction, generally, of an imported performer as top of the bill with local supporting acts.
		+
		+	Prior to the advent of television broadcasting in 1976, [[Danny Kaye]], [[Marcel Marceau]], Liberace, Marlene Dietrich, Shelley Berman, among others, were imported by such impresarios as Jim Stodel and Pieter Toerien.

	===Bio-vaudeville and bio-vaudeville houses in South Africa===		===Bio-vaudeville and bio-vaudeville houses in South Africa===

← Older revision		Revision as of 05:44, 1 February 2019
Line 56:		Line 56:

	South African variety performer/presenters include Eve Boswell, and Joan Brickhill and Louis Burke (the Minstrels and Follies series during the 1970's).Vaudeville and music-hall have been largely replaced by revue, musical comedy and television variety specials. * However, another important form of this tradition is what Loren Kruger (1999) calls African variety. With this she refers to a range of popular performance forms – mainly concerts and sketches - that she sees evolving in the urban black life from about the 1920’s. This seems to have drawn on such diverse influences as the commercial entertainments of European and American/African American culture, the ingoma and later ingoma ebusuku, Eisteddfodau, missionary choirs, rural modes of storytelling, praises, minstrelsy, “tribal sketches” and other vaudeville gags, and so on. Clearly is an influence on the evolution of the “township musical” and even more serious work such as Woza Albert and Sizwe Banzi is Dead. Among the major figures to work in or be influenced by this tradition she lists Griffiths Motsieloa, Todd Matshikiza, Gibson Kente, Mbongeni Ngema and Walter Chakela. (McM) (See: Gutsche, 1972, ) (See also Music-hall in South Africa , African Variety and Vaudeville above.)		South African variety performer/presenters include Eve Boswell, and Joan Brickhill and Louis Burke (the Minstrels and Follies series during the 1970's).Vaudeville and music-hall have been largely replaced by revue, musical comedy and television variety specials. * However, another important form of this tradition is what Loren Kruger (1999) calls African variety. With this she refers to a range of popular performance forms – mainly concerts and sketches - that she sees evolving in the urban black life from about the 1920’s. This seems to have drawn on such diverse influences as the commercial entertainments of European and American/African American culture, the ingoma and later ingoma ebusuku, Eisteddfodau, missionary choirs, rural modes of storytelling, praises, minstrelsy, “tribal sketches” and other vaudeville gags, and so on. Clearly is an influence on the evolution of the “township musical” and even more serious work such as Woza Albert and Sizwe Banzi is Dead. Among the major figures to work in or be influenced by this tradition she lists Griffiths Motsieloa, Todd Matshikiza, Gibson Kente, Mbongeni Ngema and Walter Chakela. (McM) (See: Gutsche, 1972, ) (See also Music-hall in South Africa , African Variety and Vaudeville above.)
		+
		+	==South African variety artists==

	===Bio-vaudeville and bio-vaudeville houses in South Africa===		===Bio-vaudeville and bio-vaudeville houses in South Africa===