How To Use Minstrel show In A Sentence
-
Minstrel shows drew a good audience and visiting theater companies played at the Brooks Opera House.
-
Gavin Lawrence as the Interlocutor in The Last Minstrel Show is sleek, sly, and not at all reassuring in his oversized cutaway coat, pin-striped pants, white spats, and Cheshire grin.
-
Minstrel shows drew a good audience and visiting theater companies played at the Brooks Opera House.
-
That is called a minstrel show, circa the 21st century.
Kevin Powell: Ashley Judd and Hip-Hop Culture
-
Soon he branches out on his own and progresses quickly from chorus singer to a featured act while appearing in blackface with one of the country's popular minstrel shows.
-
Minstrel shows included music, dance and comedy.
-
Historical: blackface was used in minstrel shows and later in blackface sketches in more mainstream vaudeville to humorously denigrate African Americans.
SNL's Fauxbama Blackface Thing
-
Huang notes that there is a history of what he calls "racial ventriloquism" in the United States, dating from early minstrel shows with white performers wearing black-face makeup.
Author Investigates Real-Life Inspiration for Fictional Charlie Chan
-
Although the Jim Crow character as a feature of minstrel shows became popular in the generation before the Civil War, early photographic images of people in blackface are quite rare.
-
Mixing roles "The Scottsboro Boys" makes use of the kind of broad stylized characters typical in minstrel shows and has many of the actors playing multiple roles - including white stereotypes.
Broadway Musical Resurrects Grim Racial Event
-
Popular in 19th-century minstrel shows, versions such as ‘buck-and-wing’ (danced vigorously in wooden-soled shoes) and ‘soft-shoe’ (shoes) developed as separate techniques; by 1925 they had merged, and metal taps were attached to shoe heels and toes to produce a more pronounced sound.
-
A minstrel show became four or so men in blackface doing rough and rowdy songs on banjo, fiddle, tambourine and clacking bones, interspersed with japes, skits and dancing.
-
In "The Scottsboro Boys," Messrs. Kander and Ebb (who died in 2004 while writing the musical) and David Thompson, the show's librettist, have compressed this complicated sequence of events into a lengthy one-act musical that makes use of all the theatrical conventions of the old-fashioned blackface minstrel shows that were popular well into the 20th century.
A Perilous Page of History to Turn
-
As the minstrel show emerged, American publishers sought to attract amateur musicians and provided a flow of spirituals, gospel songs, polkas, and Schottisches, as well as innumerable sentimental ballads and salon pieces.
-
Susan Stroman says "The Scottsboro Boys" makes use of the kind of broad stylized characters typical in minstrel shows.
'Scottsboro Boys' Tell Their Own Story On Broadway
-
In that long-gone decade, the prospect of watching a stageful of black men perform a "comic" minstrel show about so hideous an event would have stung like a flogging.
A Perilous Page of History to Turn
-
When fat people are portrayed on film, they're usually played by thin actors in fat suits, a phenomena that's been compared to a modern version of the blackface minstrel show.
-
Of course this was a caricature: most people in 1966 spent their evenings tucked up in front of the Black and White Minstrel Show rather than living it up in the fleshpots of Chelsea.
-
All this turned into a sort of redneck minstrel show where sanitized country boys eluded and escaped the ever corrupt and incompetent forces of the capitalist-controlled and thus citified law.
-
In the context of this event, the dancers' makeup - whiteface with eyes and mouths outlined - had a disturbing edge, though as they moved they conjured more Weimar than minstrel show.
-
Labels: black and white ball, black and white minstrel show, carol thatcher, tories
Carol Thatcher organises cabaret for Tory Black and White Ball
-
The insulting minstrel shows stole black music because there wasn't anything as interesting to poach from the white musical tradition.
"Showtime," Larry Stempel's history of Broadway musicals, reviewed by Lloyd Rose
