Vaudeville, Hollywood, and the Radio during World War II: The Intermedial Politics of Variety Acts by Marguerite Chabrol

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Functions of the 'theatrical' plot in M.A. Bulgakov's fantastic vaudeville 'Ivan Vasil'evich' by M.A. Shelenok

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›Lead Sheet‹-Notation vom Vaudeville bis zum iReal Pro. Zur Geschichte der Notationsformen des Jazz und ihren musiktheoretischen Implikationen by Philipp Teriete

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Ibsen, Sancthansnatten og de «saakaldte lavere Kunstarter» by Ellen Rees

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“Homo Ludens” in the Epic by I.A. Goncharov by Nina L. Ermolaeva

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Marlene Dietrich de l’icône à la guest star : âge, voix et circulation entre les médias by Marguerite Chabrol

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Gogol’s Friend N.Ya. Prokopovich and His Service as an Actor in the St. Petersburg Imperial Theaters by Nataliya L. Vinogradskaya

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Tworki of Marek Bieńczyk as a genre story by Piotr Marecki

“…Particular emphasis is placed on an analysis of the vaudeville-cabaret layers of the novel, everything borrowed from popular culture and used to re-narrate the trauma of the Holocaust. …”
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Dicționar grotesc by A. C. Cofan

“…A little writing not enough researched and reaching a few pages belonging to Vasile Alecsandri proves the keen interest of a comedies and vaudeville author for language issues, especially for the building of a beautiful and fluent literary language. …”
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La casa senza amareni by Gian Piero Piretto

“…A short reflection on Stanislav Zhukovsky’s paintings of Russian mansion intérieur helps to demonstrate that The Cherry Orchard is not a drama, but a vaudeville. …”
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De L’Inventaire du planteur au Mousse et au Cabin boy : Réorientation et recadrage d’une histoire antiesclavagiste d’É. Souvestre en pièce de théâtre by Barbara T. Cooper

“…Transformed into an antislavery tale by Souvestre (L’Inventaire du planteur), then changed into a comic opera by Saint-Georges and Monpou (Le Planteur) before becoming a comédie-vaudeville written by Souvestre (Le Mousse) and a drama by Stirling (The Cabin Boy), the story of a young woman who learns she is of African descent and considered a slave evolves according to generic norms and national, aesthetic and political contexts that are constantly changing. …”
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Iz gledališke zgodovine: Liebe kann alles oziroma sezona 1833/34 na ljubljanskem stanovskem odru by Tone Smolej, Tanja Žigon

“…Iz prispevka je razvidno, da ljubljanski repertoar, v katerem so bile romantične igre reševanja, klasične komedije, vodvilske komedije (comédie-vaudeville) in čarobne pravljice, ni zelo zaostajal za dunajskimi in celo za pariškimi uprizoritvami v prvi polovici 19. stoletja ter da si je občinstvo v Ljubljani predstave velikokrat lahko ogledalo samo nekaj let po praizvedbah. …”
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Tempering Feydeau: Twisting and Guilty Pleasures on the London Stage (1893-1897) by Violaine Heyraud

“…Beginning in 1892, Feydeau established himself in France as the new master of vaudeville comedy. London theatres surrendered to his infectious laughter, producing a number of his plays between 1892 and 1897, though admittedly, carefully selected: The Sportsman, adapted from Monsieur chasse! …”
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'Contrafacta': le chant, les timbres, la romance et les conditions de la poésie au tournant des Lumières by Martin Wåhlberg

“…The article first examines the backdrop of the more general tradition of writing new texts to pre-existing music in the eighteenth century, typical for instance in certain literary circles and, most notably, in the genre of opéra-comique en vaudevilles as it develops in Parisian fair theatres from 1715 and up to the late 1750s. …”
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