Problem: A burlesque is a literary, dramatic or musical work intended to cause laughter by caricaturing the manner or spirit of serious works, or by ludicrous treatment of their subjects. The word derives from the Italian burlesco, which, in turn, is derived from the Italian burla - a joke, ridicule or mockery. Burlesque overlaps in meaning with caricature, parody and travesty, and, in its theatrical sense, with extravaganza, as presented during the Victorian era. "Burlesque" has been used in English in this literary and theatrical sense since the late 17th century.

Victorian burlesque, sometimes known as "travesty" or "extravaganza", was popular in London theatres between the 1830s and the 1890s. It took the form of musical theatre parody in which a well-known opera, play or ballet was adapted into a broad comic play, usually a musical play, often risque in style, mocking the theatrical and musical conventions and styles of the original work, and quoting or pastiching text or music from the original work. The comedy often stemmed from the incongruity and absurdity of the classical subjects, with realistic historical dress and settings, being juxtaposed with the modern activities portrayed by the actors. Madame Vestris produced burlesques at the Olympic Theatre beginning in 1831 with Olympic Revels by J. R. Planche. Other authors of burlesques included H. J. Byron, G. R. Sims, F. C. Burnand, W. S. Gilbert and Fred Leslie.  Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'." In the early burlesques, following the example of ballad opera, the words of the songs were written to popular music; later burlesques mixed the music of opera, operetta, music hall and revue, and some of the more ambitious shows had original music composed for them. This English style of burlesque was successfully introduced to New York in the 1840s.  Some of the most frequent subjects for burlesque were the plays of Shakespeare and grand opera. The dialogue was generally written in rhyming couplets, liberally peppered with bad puns. A typical example from a burlesque of Macbeth: Macbeth and Banquo enter under an umbrella, and the witches greet them with "Hail! hail! hail!" Macbeth asks Banquo, "What mean these salutations, noble thane?" and is told, "These showers of 'Hail' anticipate your 'reign'". A staple of burlesque was the display of attractive women in travesty roles, dressed in tights to show off their legs, but the plays themselves were seldom more than modestly risque.  Burlesque became the speciality of certain London theatres, including the Gaiety and Royal Strand Theatre from the 1860s to the early 1890s. Until the 1870s, burlesques were often one-act pieces running less than an hour and using pastiches and parodies of popular songs, opera arias and other music that the audience would readily recognize. The house stars included Nellie Farren, John D'Auban, Edward Terry and Fred Leslie. From about 1880, Victorian burlesques grew longer, until they were a whole evening's entertainment rather than part of a double- or triple-bill. In the early 1890s, these burlesques went out of fashion in London, and the focus of the Gaiety and other burlesque theatres changed to the new more wholesome but less literary genre of Edwardian musical comedy.

What was most interesting about this article?

Answer with quotes: Victorian burlesque related to and in part derived from traditional English pantomime "with the addition of gags and 'turns'."


Problem: Randi was born on August 7, 1928 in Toronto, Ontario, Canada, the son of Marie Alice (nee Paradis) and George Randall Zwinge. He has a younger brother and sister. He took up magic after seeing Harry Blackstone Sr. and reading conjuring books while spending 13 months in a body cast following a bicycle accident. He confounded doctors who expected he would never walk again.

Randi is the author of ten books, among them Conjuring (1992), a biographical history of noted magicians. The book is subtitled Being a Definitive History of the Venerable Arts of Sorcery, Prestidigitation, Wizardry, Deception, & Chicanery and of the Mountebanks & Scoundrels Who have Perpetrated these Subterfuges on a Bewildered Public, in short, MAGIC! The book's cover says that it is by "James Randi, Esq., A Contrite Rascal Once Dedicated to these Wicked Practices but Now Almost Totally Reformed". The book selects the most influential magicians and tells some of their history, often in the context of strange deaths and careers on the road. This work expanded on Randi's second book titled Houdini, His Life and Art. This illustrated work was published in 1976 and was co-authored with Bert Sugar. It focuses on the professional and private life of Houdini.  Randi also wrote a children's book in 1989 titled The Magic World of the Amazing Randi, which introduced children to magic tricks. In addition to his magic books, he has written several educational works about paranormal and pseudoscientific claims. These include biographies of Uri Geller and Nostradamus as well as reference material on other major paranormal figures. He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science. He was a member of the all-male literary banqueting club the Trap Door Spiders, which served as the basis of his good friend Isaac Asimov's fictional group of mystery solvers, the Black Widowers.  Other books are Flim-Flam! (1982), The Faith Healers (1987), James Randi, Psychic Investigator (1991), Test Your ESP Potential (1982) and An Encyclopedia of Claims, Frauds, and Hoaxes of the Occult and Supernatural (1995).  Randi was a regular contributor to Skeptic magazine, penning the "'Twas Brillig..." column, and also served on its editorial board. He is also a frequent contributor to Skeptical Inquirer magazine, which is published by CSI, of which he is also a Fellow.

what else is known about him as an author?

Answer with quotes:
He is currently working on A Magician in the Laboratory, which recounts his application of skepticism to science.