Sign in or register
for additional privileges

Birth of An Industry: Blackface Minstrelsy and the Rise of American Animation

Nicholas Sammond, Author
Performance, page 8 of 25
Previous page on path     Next page on path

 

You appear to be using an older verion of Internet Explorer. For the best experience please upgrade your IE version or switch to a another web browser.

Performance, Page 46

In 1914, a young vaudevillian named Buster Keaton shared the bill one night with performing animator Winsor McCay. Keaton later used McCay's Gertie (1914) as inspiration for parts of his Three Ages (1923). One of the elements of McCay's Gertie act was the back-and-forth between the man and the dinosaur. The trope of the comedic duo, which derived in part from minstrelsy's Tambo and Bones, circulated freely on the vaudeville and minstrel stages. A classic example of the vaudeville two act was Abbott and Costello, whose routine "Who's On First" is considered paradigmatic. This comedic dynamic was later translated onto the medium of animation through the struggle between the performing animator and his seemingly autonomous creation.
Comment on this page
  • Local Discussion
    •
  • Popout
    •
 

Discussion of "Performance, Page 46"

Add your voice to this discussion.

Checking your signed in status ...

Previous page on path Performance, page 8 of 25 Next page on path
Winsor McCay    Bones    Tambo    1910s    Live Cinema    Cartoons    Moving Image    With Live Characters (Animators)    Gertie the Dinosaur

Related:  Performance, Page 42,  Performance, Page 84,  Labor, Page 113,  Space, Page 182,  Performance, Page 45,  Space, Page 183,  Space, Page 150,  Introduction, Page 6,  Space, Page 155,  Race, Page 213,  Space, Page 170,  Introduction, Page 2,  Race, Page 232,  Labor, Page 129,  Race, Page 247,  Performance, Page 50,  Performance, Page 47,  Labor, Page 122,  Performance, Page 74,  Conclusion, Page 291,  Space, Page 162,  Space, Page 187,  Labor, Page 132,  Race, Page 221,  Race, Page 254,  Space, Page 178,  Conclusion, Page 278,  Space, Page 181,  Race, Page 239,  Space, Page 193,  Labor, Page 101,  Labor, Page 88,  Space, Page 197,  Race, Page 252,  Space, Page 189,  Performance, Page 70,  Introduction, Page 14,  Space, Page 163,  Race, Page 248,  Race, Page 231,  Performance, Page 60,  Space, Page 148,  Conclusion, Page 275,  Conclusion, Page 290,  Space, Page 188,  Race, Page 251,  Introduction, Page 21,  Race, Page 258,  Race, Page 206,  Introduction, Page 30,  Performance, Page 44,  Performance, Page 82,  Performance, Page 54,  Space, Page 141,  Race, Page 261,  Race, Page 253,  Labor, Page 98,  Performance, Page 43,  Labor, Page 110,  Conclusion, Page 286,  Conclusion, Page 304,  Labor, Page 128,  Race, Page 204,  Race, Page 235,  Space, Page 143,  Labor, Page 119,  Introduction, Page 4,  Race, Page 230,  Space, Page 152,  Introduction, Page 23,  Space, Page 146,  Space, Page 177,  Introduction, Page 1,  Performance, Page 77,  Labor, Page 96,  Introduction, Page 15,  Performance, Page 41,  Labor, Page 97,  Introduction, Page 9,  Space, Page 175,  Conclusion, Page 302,  Conclusion, Page 289,  Performance, Page 52,  Space, Page 172,  Conclusion, Page 284,  Labor, Page 133,  Space, Page 190,  Introduction, Page 16,  Race, Page 220,  Labor, Page 123,  Conclusion, Page 292,  Performance, Page 72,  Conclusion, Page 300,  Introduction, Page 29,  Labor, Page 109,  Conclusion, Page 298,  Performance, Page 78,  Performance, Page 35,  Performance, Page 56,  Space, Page 165,  Labor, Page 112,  Race, Page 224,  Performance, Page 34,  Space, Page 138,  Conclusion, Page 303,  Race, Page 229,  Space, Page 194,  Conclusion, Page 273,  Race, Page 225,  Conclusion, Page 296,  Space, Page 191