Sign in or register
for additional privileges

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

Nicholas Sammond, Author

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
 

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

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