The show was a continuation of acts from dawn to dusk. A “model” bill might include approximately eight acts that had a variety of performers. It was usually set up so as to increase spectator pleasure at the start, followed by a filler and this would keep going until the final act which was usually a “chaser” act used to help run patrons out of the revolving show (D. 86-88). The variety of acts ranged from: (MC) Master of Ceremonies (invented in Vaudeville), comics, magicians, shadowgraphs, acrobats, ventriloquists, puppeteers, musicians, imitators, yodelers, clog dancers, hobo impersonators, feats of strength, mind reading, fancy divers, pantomimes, song and dance, and a seemingly endless variety of acts (Garner; Gilbert 162). A large number
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The forms ranged from blackface, double-talk, “Hello, nurse!” , double act, “Open the Door, Richard”, transvestism, “Slowly, I Turned”, tab show, woman’s suffrage, ventriloquism, animal acts, and an endless array of skits (Tropes; Gilbert 61-85). Another contextual comedic routine was that of the ethnic impersonator, whether they were imitating their own culture or another's, citing these differences was more about the humor rather than inciting hostility (D. 10). This ranged from the early Irish and German acts to the later Black, Dutch, Italian, and Jewish vaudevillians (DiMeglio 44-45). Some of these tropes are still successfully used today - Seinfeld, being a perfect example. A distant relative, Edward “Farfariello” Migliaccio, played the caffé concerto, the jook joints of the Italian circuit which had several venues around Little Italy, New York and especially on Bowery Ave. His acts played with the tradition of the typical Italian-immigrant dilemma: identity crisis, communication issues, mannerisms, stereotyping. His work was so beloved for its endeavours of unifying Italians and Americans, King Victor Emmanuel III of Italy bestowed the honor of knighthood upon him
The forms ranged from blackface, double-talk, “Hello, nurse!” , double act, “Open the Door, Richard”, transvestism, “Slowly, I Turned”, tab show, woman’s suffrage, ventriloquism, animal acts, and an endless array of skits (Tropes; Gilbert 61-85). Another contextual comedic routine was that of the ethnic impersonator, whether they were imitating their own culture or another's, citing these differences was more about the humor rather than inciting hostility (D. 10). This ranged from the early Irish and German acts to the later Black, Dutch, Italian, and Jewish vaudevillians (DiMeglio 44-45). Some of these tropes are still successfully used today - Seinfeld, being a perfect example. A distant relative, Edward “Farfariello” Migliaccio, played the caffé concerto, the jook joints of the Italian circuit which had several venues around Little Italy, New York and especially on Bowery Ave. His acts played with the tradition of the typical Italian-immigrant dilemma: identity crisis, communication issues, mannerisms, stereotyping. His work was so beloved for its endeavours of unifying Italians and Americans, King Victor Emmanuel III of Italy bestowed the honor of knighthood upon him