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Performance and Politics in Popular Drama
Since the beginning of the nineteenth-century, many forms of theatre have been called 'popular', but in the twentieth-century the term 'popular drama' has taken on definite political overtones, often indicating a repudiation of 'commercial theatre'. Does this mean that political theatre is or tries to be more attractive to more people than commercial theatre? Does it conversely mean that commercial theatre has no political effects? The articles in this book were submitted as papers for a conference on the theme of 'popular' theatre, film and television. Contributions came from people with very different types of experience: from an ex-animal trainer to a lecturer in film studies; from playwrights, directors and actors to professional critics and academics. Each author focused on a particular problem of defining drama in performance, drawing together the conditions of performance, the types of audience and the political effects of the plays or films in question. The result was a series of fruitful connections and juxtapositions that shows the remarkable continuity of the problems raised in attempts to create a popular political drama.
The Garrick Remedy
This drole tale, written in 1835 on the cusp of Bouchardy’s switch from engraving to drama, is his first work ever translated into English. In it, Lady Anna has fallen in love at a performance of Romeo and Juliet—but does she love the famous Romantic actor Garrick, or the character of Romeo, or the play itself? In any case, her father has offered £20,000 to anyone who can cure her infatuation. Bouchardy swings the reader deviously back and forth between wistful sentiment and disillusioned irony. He also sheds some light on Romanticist attitudes toward theatre, history, truth, fiction, and the blending of life and art.
R�venance Omnibus, Vol. I: A Zine of Hauntings from Underground Histories
Revenance is dedicated to the forgotten or untold histories of 19th Century avant-garde and dissenting countercultures. It promotes historiography practiced as game, as activism, as trans-generational collaboration, as communal memory, which running athwart the academic, refuses to describe history as finished, and does not stand apart to observe its object from a distance, in the posture of false 'objectivity' which Power always assumes. Instead: a committed historiography, which does not stand outside the stream of time or apart from its object: intellectual and precise, yet ludic and multi-form, one moment manifest as an essay, the next as a poem. A historiography created within the utopian fringe, and for the same community, responsive to our changing conditions, needs, and desires. A historiography that we take personally, merging imperceptibly into experiments in daily life, social praxis, and thought. Volume I collects the first five issues of the journal, from 2016-18.
The Cambridge Paperback Guide to Theatre
Derived from The Cambridge guide to theatre_
