performance skills.... Characters played a limited role, often reduced to familiar
stereotypes. Sometimes, vaudevillians invited audience awareness of the gap
between their own personalities and the stock characters they assumed, layering
identities to showcase their performance skills.... Vaudevillians directly addressed
their audiences, sometimes pulling them directly into the act, often adjusting both
the performance’s style and content to spectator response. The vaudeville
manager made detailed records of the spectator reactions to various acts,
measuring the performer’s merits according to the ability to provoke outward
displays of emotion. The act was, as a consequence, built to intensify affective
experience and heighten awareness of the performer’s skills and expertise; the
simple plot became a ‘string’ upon which loosely associated bits of comic and
musical material might be attached. Most acts built towards a ‘wow climax’,
closing upon a spectacular moment to maximize the audience’s final response
(Karnick and Jenkins 154).
As I stated above, the term “vaudeville” comes from the song parodies of Eighteenth
Century France. Vaudeville focused not on a narrative or order of events, but rather on
the performer herself. There was no director of the performances, aside from the owner
of the venue that would choose the order of acts and determine which performer received
the best audience response. This absence of a director left the performer as the controller
of timing, audience rapport, and content. Later in the Twentieth Century, the Vaudeville
tradition continued in the form of stand-up comedy.
Vaudeville, and the British equivalent of the Music Hall, had more influence on
the style of comedy film than on any other genre, “The comedian-centered comedy has
been most influenced by… one or several of the variety contexts provided by vaudeville,
burlesque, British music hall, the theatrical revue, cabaret, radio, and television” (Krutnik
23). The episodic style of Vaudeville introduced a performance rhythm that became
expected in film comedy and ultimately led to television variety shows:
The fragmentation and intensity of vaudeville shocked many middle class critics
and reformers, who preferred the emotional restraint and realism associated with
theatrical farce or ‘true comedy’…. If comedian comedy, as [film scholar Steve]
Seidman suggests, drew heavily upon the vaudeville tradition, the roots of
romantic comedy can be found in ‘true comedy’ (Karnick and Jenkins 154).