He was burlesqued by Laughton Osborn in The Vision of Rubeta, a satire in the classical style. Osborn had been displeased by a critical review by Stone of an earlier work of his.
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During the Victorian age, nearly every popular opera was turned into a burlesque.Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), pp.
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"Another climbed a tree to urinate on him."Peter Choi, "Revivalist, Pop Idol, and Revolutionary Too? Whitefield’s place in American history" (Christianity Today, 17 December 2014) In 1760, Whitefield was burlesqued by Samuel Foote in The Minor.
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In Don Quixote (1605), Miguel de Cervantes burlesqued the romances and their popularity. Tales of knight- errantry then fell out of fashion for two centuries, until they re-emerged in the form of the historical novel in Romanticism.
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"Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011 Wells, Stanley. "Shakespearian Burlesques", Shakespeare Quarterly, Vol. 16, No. 1 (Winter, 1965), pp.
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In one case, a ROM for storing numerical squares was sufficient.In re Iwahashi, 888 F.2d 1370 (Fed. Cir. 1989). This state of affairs was burlesqued in the mythical "Case of the Automated Substance Spreader," a computerized system for spreading fertilizer.George Washington Computer Law.
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Example, c. 1860 Milner's hippodrama was adapted and burlesqued over the decades. For example, in 1856 it was re- written as an equestrian burlesque in two acts, by blackface minstrel entertainer Charles "Charlie" White. The main antagonist is Castiron, and his daughter is Olinska.
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It has been also mentioned in Stanley Houghton's play The Dear Departed. Wells also mentioned it in his book Experiment in Autobiography. The magazine is burlesqued as "Chit Chat" in George Gissing's New Grub Street. In the closing scene of the film Kind Hearts and Coronets (1949), the protagonist Louis Mazzini (Dennis Price) is approached by a journalist (Arthur Lowe) from Tit- Bits.
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The designer Ludovico Ottavio Burnacini provided no fewer than 24 sets and there were plenty of opportunities for spectacular stage machinery, including shipwrecks and collapsing towers. Novelist Gore Vidal named his 1952 book, The Judgment of Paris, after this story. The Judgement of Paris was burlesqued in the 1954 musical The Golden Apple. In it, the three goddesses have been reduced to three town biddies in smalltown Washington state.
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William Elmes (active 1811–20 ), was an English caricaturist. There are over 45 caricatures by him, many on naval subjects, as well as two satires on slavery, in the Catalogue of Political and Personal Satires Preserved in the Department of Prints and Drawings in the British Museum., which describes his work as "genuine caricature, broadly burlesqued, naively drawn". His work includes caricatures after prints by James Gillray and Thomas Rowlandson.
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See Gänzl, Kurt. "'The Black Crook. The real story of the mythologised legshow", Kurt of Gerolstein, 18 June 2018 The musical was then toured extensively for decades by Barras and others licensed by him and revived on Broadway in 1870–71, 1871–72, and by The Kiralfy Brothers at Niblo's in 1873; and many more times after that; it also had numerous profitable regional productions and was widely burlesqued.
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Elliot's Apologia pro Vitâ Suâ was published in 1682: it is sarcastically entitled A Modest Vindication of Titus Oates the Salamanca Doctor from Perjury, and contains the Narrative of his travels, Oates's depositions, and an account of the trial between him and Elliot. It was more ingenious than veracious, and the Narrative was burlesqued by Bartholomew Lane, a partisan of Oates, in A Vindication of Dr. Titus Oates from two Scurrilous Libels (1683).
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Donizetti's L'Elisir d'Amore burlesqued by Gilbert in 1866 Dulcamara, or the Little Duck and the Great Quack, is one of the earliest plays written by W.S. Gilbert, his first solo stage success. The work is a musical burlesque of Donizetti's L'Elisir d'Amore, and the music was arranged by Mr. Van Hamme.Burgess, p. 307 It opened at the St James's Theatre on 29 December 1866, the last item in a long evening, following a farce and Dion Boucicault's new play Hunted Down.
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15, No. 1 (March 2003), pp. 33–66, Cambridge University Press, accessed 2 February 2011 The operas of Bellini, Bizet, Donizetti, Gounod, Handel, Meyerbeer, Mozart, Rossini, Wagner and Weber were burlesqued. In a 2003 study of the subject, Roberta Montemorra Marvin noted: > By the 1880s, almost every truly popular opera had become the subject of a > burlesque. Generally appearing after an opera's premiere or following a > successful revival, they usually enjoyed local production runs, often for a > month or longer.
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Programme from the original 1876 production Dan'l Druce, Blacksmith is a play by W. S. Gilbert, styled "A Three-Act Drama of Puritan times". It opened at the Haymarket Theatre in London on 11 September 1876, starring Hermann Vezin, Johnston Forbes-Robertson and Marion Terry. The play was a success, running for about 100 performances and enjoying tours and several revivals. It was popular enough to be burlesqued in a contemporary work, Dan'l Tra-Duced, Tinker, at the Strand Theatre.
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See William Caxton's preface to his 1485 edition. Popular literature also drew on themes of romance, but with ironic, satiric or burlesque intent. Romances reworked legends, fairy tales, and history, but by about 1600 they were out of fashion, and Miguel de Cervantes famously burlesqued them in Don Quixote (1605). Still, the modern image of the medieval is more influenced by the romance than by any other medieval genre, and the word "medieval" evokes knights, distressed damsels, dragons, and such tropes.
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Stone went clean-shaven, emphasizing a boyish, innocent look, and played the part so sensitively that Roach often cast him in other films. In 1942, Stone burlesqued Hirohito in Roach's wartime comedy The Devil with Hitler. Stone's most familiar role was "The Runt", loyal sidekick to adventurous ex-criminal Boston Blackie in Columbia Pictures' action-comedies. Stone was supposed to perform with Chester Morris in the first film of the series, Meet Boston Blackie, but was sidelined by a virus.
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At the same time, with the change of courtly ideas during the Baroque period, the ideals of chivalry began to be seen as dated, or "medieval". Don Quixote, published in 1605–15, burlesqued the medieval chivalric novel or romance by ridiculing the stubborn adherence to the chivalric code in the face of the then-modern world as anachronistic, giving rise to the term Quixotism. Conversely, elements of Romanticism sought to revive such "medieval" ideals or aesthetics in the late 18th and early 19th century.
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Bellini's Norma, burlesqued by Gilbert The Pretty Druidess; Or, The Mother, The Maid, and The Mistletoe Bough is an operatic burlesque by W. S. Gilbert. It was produced at the opening of the new Charing Cross Theatre on 19 June 1869 and ran until September of that year. The work was the last of five such burlesques that Gilbert wrote in the late 1860s. As in his other operatic burlesques, he chose a selection of operatic and popular tunes and wrote new words to fit them.
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More controversially, the large number of Jews among the Bolsheviks before Stalin's purges led some to think he equated Bolshevism with Jews. He wrote anti- Semiticly shaded articles for a newspaper, the Whitechapel Gazette, owned by the highly questionable social figure Maundy Gregory. He burlesqued such views in his 1925 Sherlock Holmes spoof, "Mr Pepper Investigates", especially in Chapter 6, 'Blackmailers'. Thomson was appointed Companion of the Order of the Bath (CB) in 1916 and Knight Commander of the Order of the Bath (KCB) in 1919.
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In 1925, another version reached the screen which starred Alma Rubens, Edmund Lowe, Lou Tellegen and Leslie Fenton. In 1930 the film Ex-Flame was released which shifted novel's setting to contemporary England. As the more melodramatic aspects of the story became dated, there were several parodies and burlesques made, including East Lynne in Bugville with Pearl White (1914), Mack Sennet's East Lynne with Variations (1917), and in 1931 the comedy East Lynne on the Western Front in which British soldiers fighting in the World War I stage a burlesqued version of the story.
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Verdi's Il trovatore and La traviata received their British premieres in 1855 and 1856 respectively; British burlesques of them followed quickly. Our Lady of the Cameleon by Leicester Silk Buckingham and Our Traviata by William F. Vandervell (both 1857) were followed by five different burlesque treatments of Il trovatore, two of them by H. J. Byron: Ill Treated Trovatore, or the Mother the Maiden and the Musicianer (1863) and Il Trovatore or Larks with a Libretto (1880).Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol.
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Gilliam refused and so Lownes had the credit made elsewhere at his own cost. Gilliam then created a different style of credit for the Pythons so Lownes' credit is the only one that appears in this way. In their later film, Monty Python Live at the Hollywood Bowl (1982), Gilliam burlesqued the incident by giving one Python a credit name three times the size of anyone else's: "MICHAEL PALIN – as the man with the biggest credit". Lownes was out partying with Roman Polanski when Sharon Tate was murdered by the Manson family in August 1969.
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Later in the Victorian era, burlesque mixed operetta, music hall and revue, and some of the large-scale burlesque spectacles were known as extravaganzas.For example, H. J. Byron's 1863 Il trovatore parody, which was labelled "a burlesque extravaganza": see Marvin, Roberta Montemorra. "Verdian Opera Burlesqued: A Glimpse into Mid-Victorian Theatrical Culture", Cambridge Opera Journal, Vol. 15, No. 1 (March 2003), p. 42, Cambridge University Press, accessed 2 February 2011 The English style of burlesque was successfully launched in New York in the 1840s by the manager and comedian William Mitchell, who had opened his Olympic Theatre in December 1839.
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This group of 23 women, under the leadership of the first four demonstrated their indignation and disappointment by creating a public library. For funding, they advertised the presentation of a comedy, entitled “The Coming Woman,” in which they burlesqued themselves and their unsuccessful efforts to gain admission to Wabash College. In a relentless manner, the male students issued burlesque handbills and posters. In one day, not less than five varieties were issued. The ladies were styled “the Twenty-three Sorry Sisses,” in an attempt to pun upon the word “Sorosis,” which latter organization was attracting considerable attention in the East.
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In the "Author's Note" preceding the novel's 1927 reprint, Cabell observed that "Not many other volumes, I believe, have been burlesqued and cried down in the public prints by their own dedicatees"Figures of Earth (1927 edition), Author's Note. alluding to the fact that both Untermeyer and Mencken had publicly expressed dislike with the novel in comparison with Jurgen. A 1925 reissue included illustrations by Frank C. Papé. In Cabell's later years Figures of Earth fell, like most of his other works, into comparative neglect, but two paperback reissues in 1969 and 1971, with introductions by Lin Carter and James Blish respectively, brought it back into circulation.
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"Vestris, Lucia Elizabeth (1797–1856)", Oxford Dictionary of National Biography, Oxford University Press, 2004, accessed 12 March 2014 Many were written by J. R. Planché and Charles Dance, featuring Vestris in breeches roles, and the popular comedian of the day, John Liston. The plays often burlesqued classical themes: My Great Aunt – or, Relations and Friends; The Loan of a Lover; The Court Beauties; The Garrick Fever; Faint Heart Never Won Fair Lady; Olympic Revels – or Prometheus and Pandora; Olympic Devils – or Orpheus and Eurydice; The Paphian Bower – or Venus and Adonis; Telemachus – or The Island of Calypso.Victorian Plays, accessed 23 March 2007. While Vestris' licence only allowed the performance of extravaganzas and burlesques, the quality of the performance was paramount, with much time spent on rehearsal and selection of the company.
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"Sub-literary" texts and uninspired non-literary texts all came to be read as documents of historical discourse, side-by-side with the "great works of literature". A typical focus of new historicist critics, led by Stephen Orgel, has been on understanding Shakespeare less as an autonomous great author in the modern sense than as a means of reconstructing the cultural milieu of Renaissance theatre--a collaborative and largely anonymous free-for-all--and the complex social politics of the time.An "ancestor" of the new historicism noted in Mikics is C. L. Barber's Shakespeare's Festive Comedy (1959), which set the comedies against a contemporary cultural background of popular traditions like the "lord of misrule", where authority was inverted, transgressed and burlesqued. In this sense, Shakespeare's plays are seen as inseparable from the context in which he wrote (see contextualism, thick description).
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Traditional fears about the Roman Catholic Church were burlesqued by Monty Python in their Spanish Inquisition sketch (first aired September 22, 1970) in which hapless victims of the Spanish Inquisition are threatened with the 'comfy chair' and other such innocuous implements of torture. Another sketch by Monty Python featured a song "Every Sperm Is Sacred" (1983) which is a satire of Catholic teachings on reproduction which forbid masturbation and contraception by artificial means. The sketch is about a Catholic Dad (played by Michael Palin), his wife (Mum, played by Terry Jones) and their 63 children, who are about to be sold for medical experimentation purposes because their parents can no longer afford to care for such a large family. When their children ask why they don't use contraception or sterilization, Dad explains that this is against God's wishes, and breaks into the song "Every Sperm is Sacred".
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Pure Folly: The Story of Those Remarkable People The Follies. By Fitzroy Gardner. Pub. by Mills and Boon, Ltd (1909) pg2 Eventually, Pélissier and his troupe graduated from seaside piers and concert halls to London's St. George's Hall, Queen's Hall, the Tivoli Music Hall and The Alhambra until moving to the prestigious Palace Theatre in 1904 where they burlesqued Grand Opera and Shakespeare. In December 1904, Pélissier and his 'Follies' gave a 'Royal Command Performance' before King Edward VII and Queen Alexandra at Sandringham in celebration of her birthday after the King had enjoyed Pélissier's brilliant parodies of Wagner's operas.Pure Folly: The Story of Those Remarkable People The Follies. By Fitzroy Gardner. Pub. by Mills and Boon, Ltd (1909) pg3 In December 1906 Pelissier, becoming increasingly ambitious, opened in a season at a small theatre attached to the Midland Hotel, in Manchester, where they filled the house for six weeks.
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Theodora, widow of the Emperor Theophilus (died 842), acted as regent during the minority of her son Michael III, who was said to have been introduced to dissolute habits by her brother Bardas. When Michael assumed power in 856, he became known for excessive drunkenness, appeared in the hippodrome as a charioteer and burlesqued the religious processions of the clergy. He removed Theodora from the Great Palace to the Carian Palace and later to the monastery of Gastria, but, after the death of Bardas, she was released to live in the palace of St Mamas; she also had a rural residence at the Anthemian Palace, where Michael was assassinated in 867.George Finlay, History of the Byzantine Empire, Dent, London, 1906, pp. 156–161. In 860, an attack was made on the city by a new principality set up a few years earlier at Kyiv by Askold and Dir, two Varangian chiefs: Two hundred small vessels passed through the Bosporus and plundered the monasteries and other properties on the suburban Prince's Islands.
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