“她是口琴专家”:女人、舞台表演和口琴演奏

Carol Rena Shansky
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引用次数: 0

摘要

20世纪二三十年代,女性口琴独奏者开始在美国的舞台和广播中更加普遍地听到。虽然歌舞杂耍仍然是一个男性主导的舞台,但一些女性独舞演员、男女组合或女性团体在歌舞杂耍中扮演了重要角色,但随着歌舞杂耍的出现,“综艺”或“舞台表演”娱乐也在衰落。舞台表演以及作为电影前奏出现在电影院的表演开始成为一种更加“中产阶级友好”的娱乐方式,女性开始在这里找到立足点,并以出色的表演者而闻名。这篇文章介绍了其中的三个:Ingenues,“Babe”Didrickson和Mildred Mulcay。本文开始填补我们对第二次世界大战前几十年流行音乐女性表演者的活动和影响的理解空白。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
‘She’s an expert on the harmonica’: Women, stage shows and harmonica playing
Female solo harmonica players began to be more commonly heard on stages and radio in the United States in the 1920s–30s. While still a male-dominated arena, several women soloists, male–female duos or women’s groups were featured performers in vaudeville, but also the ‘variety’ or ‘stage shows’ entertainment that emerged as vaudeville declined. Stage shows as well as acts that appeared as a prelude to movies at movie houses took on the air of a more ‘middle-class-friendly’ source of entertainment where women began to find a foothold and developed a reputation as solid performers. This article profiles three of these: The Ingenues, ‘Babe’ Didrickson and Mildred Mulcay. This article begins to fill in the gap of our understanding of the activities and impact of female performers of popular music in the decades before the Second World War.
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