With the advancement of cybernetics, avatars, animation, and virtual reality, a thorough understanding of how the puppet metaphor originates from specific theatrical practices and media is especially relevant today. This book identifies and interprets the aesthetic and cultural significance of the different traditions of the Italian puppet theater in the broader Italian culture and beyond. Grounded in the often-overlooked history of the evolution of several Italian puppetry traditions - the central and northern Italian stringed marionettes, the Sicilian pupi, the glove puppets of the Po Valley, and the Neapolitan Pulcinella - this study examines a broad spectrum of visual, cinematic, literary, and digital texts representative of the functions and themes of the puppet. A systematic analysis of the meanings ascribed to the idea and image of the puppet provides a unique vantage point to observe the perseverance and transformation of its deeper associations, linking premodern, modern, and contemporary contexts.

During the last 300 years circus clowns have emerged as powerful cultural icons. This is the first semiotic analysis of the range of make-up and costumes through which the clowns' performing identities have been established and go on developing. It also examines what Bouissac terms 'micronarratives' - narrative meanings that clowns generate through their acts, dialogues and gestures. Putting a repertory of clown performances under the semiotic microscope leads to the conclusion that the performances are all interconnected and come from what might be termed a 'mythical matrix'. These micronarratives replicate in context-sensitive forms a master narrative whose general theme refers to the emergence of cultures and constraints that they place upon instinctual behaviour. From this vantage point, each performance can be considered as a ritual which re-enacts the primitive violence inherent in all cultures and the temporary resolutions which must be negotiated as the outcome. Why do these acts of transgression and re-integration then trigger laughter and wonder? What kind of mirror does this put up to society? In a masterful semiotic analysis, Bouissac delves into decades of research to answer these questions.

Originally published in the 1930s, this is a comprehensively detailed guide to ventriloquism by a master of the art. The first art relates to the mechanism of ventriloquial voice, and describes the principles on which the art of ventriloquism is based and the correct methods of applying those principles. The second part is devoted to imitations of animals, birds and musical instruments. The third part deals with ventriloquial entertainments with figures. It contains information as to the construction of figures, mechanical appliances for working them, and suitable dialogues between them and the performer. Contents Include: How Do You Do It? - Human Vocal Organs - Mouth and Teeth, The Nose, Jaw Exercises, Throat and Neck Exercises, Tongue Exercise, Rubbing - Head Voice Exercise, Chest Voice, Head To Chest Voice Exercised, Humming and Female Voice, Grunting and the Male Voice - The Far-Distant Voice, Pronouncing Words - The Ventriloquist Without the Figure, Friends Outside the Window, The Returning Roysterer and the Policeman - The Sleeping Child - A Distinct Novelty - Cow, Donkey, Lion, Dog, Puppy, Pig, Horse, Cock-Crowing, Hen Chuckling, Little Chicks, Parrot - Trombone, Cornet, Saxaphone and Basso, Clarinet, Banjo, One-String Fiddle, Harp, Xylophone, Violoncello - Fireworks - Bluebottle Fly - Personality of Your Figures - Buying Your Figure - Repairs - Short Dialogue - Smoking and Drinking - Performing in a Room - For Stage Work - Girl Dialogue - Dialogue Page and Footman - Ventriloquial Sketch - Mrs. Brown's Tea Party - Instructions For Working the Miniature Ventriloquial Figures - Ventdollie Dialogue for Boy and Girl Figures

The Great Festival presents and analyzes two historical festivals - the ancient Dionysus Festival and the present Roskilde Festival. The purpose is to set up two comparable structures or 'codes' to explain the universal artistic effects, structures and fascination of the festival. Olav Harslof argues that there are major structural, organizational and economic similarities which, when exposed, can give us greater insight into today's festivals. This is illuminated through a combined performance design and event analysis of the ancient Dionysus festival and today's Roskilde Festival, explaining the festival's historicity, diversity, complexity and paradigmatic strength. This will be a discussion of great interest to researchers and students in the fields of performance studies, experience economy, theater, music, classical philology and archeology.

The first book to consider the career of P. T. Barnum from a cultural studies perspective.

Phineas Taylor Barnum lived from 1810 until 1891, and in the eighty-one years of his life he created show business as we know it. In E Pluribus Barnum, Bluford Adams investigates the influence Barnum had on American popular culture of the nineteenth century, and expands our understanding of the ways he continues to influence us today.

Beginning with a discussion of Barnum's early shows, Adams demonstrates the dynamic interplay between Barnum's increasingly "respectable" aspirations for his entertainments and his active cultivation of middle-class sensibilities in his audiences. In his discussion of the 1850-51 concert tour of the "Swedish Nightingale" Jenny Lind, Adams explores the role played by women's rights and class issues in Barnum's management of these concerts. Barnum's American Museum and the "moral dramas" presented in its theater are examined, as well as the later circuses.

Adams relates the rise of Barnum to the emergence of a new U.S. society, one riven by conflicts over slavery, feminism, immigration, and capitalism, and considers his career as a crucial moment in the on-going struggle over the politics of U.S. commercial entertainments.

Henryk Jurkowski's seminal 1988 text, Aspects of Puppet Theatre, was groundbreaking in its analysis of puppetry as a performing art. This new edition of a classic brings the original text back to life, including four additional essays and a new introduction, edited and translated by leading puppetry scholar Penny Francis.

Conjuring Science explores the history of magic shows and scientific entertainment. It follows the frictions and connections of magic and science as they occurred in the world of popular entertainment in France from the mid-eighteenth to the early twentieth century. It situates conjurers within the broader culture of science and argues that stage magic formed an important popular conduit for science and scientific enthusiasm during this period. From the scientific recreations of the fairs to the grand illusions of the theatre stage and the development of early cinema, conjurers used and were inspired by scientific and technological innovations to create illusions, provoke a sense of wonder, and often even instruct their audience. In their hands, science took on many meanings and served different purposes: it was a set of pleasant facts and recreational demonstrations upon which to draw; it was the knowledge presented in various scientific lectures accompanied by optical projections at magic shows; it was the techniques necessary to create illusions and effects on stage and later on at the cinema; and it was a way to separate conjuring from the deceit of mediums, mystical showmen and quacks in order to gain a better standing within an increasingly scientifically-minded society.

Step right up for the most captivating read of the year . . . Filled with the sights and sounds of Victorian England, Circus of Wonders is the instant Sunday Times bestseller from Elizabeth Macneal, author of The Doll Factory. 'Intensely satisfying' - Stacey Halls, author of The Familiars England, 1866. When Jasper Jupiter's Circus of Wonders arrives in a coastal village, Nell soon catches the showman's eye. Shunned by her community because of the birthmarks speckling her skin, to Jasper she is a prize - she could be his very own leopard girl. But how to make her his? Soon Nell finds herself the star of Jasper's show. Suddenly she is famous. Crowds rush to watch her soar through the air. Figurines are cast in her image. Even Queen Victoria wants to see her perform. But is Nell free to live and love as she chooses? And when her fame begins to eclipse Jasper's own, could she be in danger? After all, the higher you fly, the steeper the fall . . . 'Filled with character and life' - The Times 'Utterly beguiling' - Daily Mail 'Brilliantly involving' - Daily Express 'Exhilarating' - Sunday Times, Books of the Year 'An immersive gem' - Red 'Joyous, frightening, heartbreaking' - Independent 'Deliciously vivid' - Woman & Home

Originally published in the 1930s, this is a wonderfully detailed guide to marionettes, puppetry and the construction and production of a show. It contains over a hundred diagrams and illustrations detailing all the various designs for puppets and instructions for their construction. All the secrets of the trade are laid in in simple language and instructions, along with clear and detailed diagrams. This is an exhaustive manual for anyone interested in puppetry. Contents Include: By Way of Introduction - Puppetry In Foreign Countries - The Stage - Scenery and Properties - Lighting - Marionettes in the Making - Marionettes Continued - Controls and Strings - Trick Dolls - The Marionette in Action - The Glove Puppet - Productions - Bibliography - Materials and Where To Obtain Them - Marionettes In London Museums Many of the earliest books, particularly those dating back to the 1900s and before, are now extremely scarce and increasingly expensive. Home Farm Books are republishing these classic works in affordable, high quality, modern editions, using the original text and artwork.

All Year Round is brimming with things to make, activities, stories, poems and songs to share with your family. It is full of well-illustrated ideas for fun and celebration: from Candlemas to Christmas and Midsummer's day to the Winter solstice.Observing the round of festivals is an enjoyable way to bring rhythm into children's lives and provide a series of meaningful landmarks to look forward to. Each festival has a special character of its own: participation can deepen our understanding and love of nature and bring a gift to the whole family. All Year Round invites you to start celebrating now!

From massive raves sprouting around the London orbital at the turn of the 1990s to events operated under the control of corporate empires, EDM (Electronic Dance Music) festivals have developed into cross-genre, multi-city, transnational mega-events. From free party teknivals proliferating across Europe since the mid-1990s to colossal corporate attractions like Tomorrowland Electric Daisy Carnival and Stereosonic, and from transformational and participatory events like Burning Man and events in the UK outdoor psytrance circuit, to such digital arts and new media showcases as Barcelona's Sonar Festival and Montreal's MUTEK, dance festivals are platforms for a variety of arts, lifestyles, industries and policies. Growing ubiquitous in contemporary social life, and providing participants with independent sources of belonging, these festivals and their event-cultures are diverse in organization, intent and outcome. From ethically-charged and "boutique" events with commitments to local regions to subsidiaries of entertainment conglomerates touring multiple nations, EDM festivals are expressions of "freedoms" revolutionary and recreational. Centres of "EDM pop", critical vectors in tourism industries, fields of racial distinction, or experiments in harm reduction, gifting culture, and co-created art, as this volume demonstrates, diversity is evident across management styles, performance legacies and modes of participation. Weekend Societies is a timely interdisciplinary volume from the emergent field of EDM festival and event-culture studies. Echoing an industry trend in world dance music culture from raves and clubs towards festivals, Weekend Societies features contributions from scholars of EDM festivals showcasing a diversity of methodological approaches, theoretical perspectives and representational styles. Organised in four sections: Dance Empires; Underground Networks; Urban Experiments; Global Flows, Weekend Societies illustrates how a complex array of regional, economic, social, cultural and political factors combine to determine the fate of EDM festivals that transpire at the intersections of the local and global.

Universities are unlikely venues for grading, branding, and marketing beauty, bodies, poise, and style. Nonetheless, thousands of college women have sought not only college diplomas but campus beauty titles and tiaras throughout the twentieth century. The cultural power of beauty pageants continues today as campus beauty pageants, especially racial and ethnic pageants and pageants for men, have soared in popularity. In Queens of Academe, Karen W. Tice asks how, and why, does higher education remain in the beauty and body business and with what effects on student bodies and identities. She explores why students compete in and attend pageants such as "Miss Pride" and "Best Bodies on Campus" as well as why websites such as "Campus Chic" and campus-based etiquette and charm schools are flourishing. Based on archival research and interviews with contemporary campus queens and university sponsors as well as hundreds of hours observing college pageants on predominantly black and white campuses, Tice examines how campus pageant contestants express personal ambitions, desires, and, sometimes, racial and political agendas to resolve the incongruities of performing in evening gowns and bathing suits on stage while seeking their degrees. Tice argues the pageants help to illuminate the shifting terrain of class, race, religion, sexuality, and gender braided in campus rituals and student life. Moving beyond a binary of objectification versus empowerment, Tice offers a nuanced analysis of the contradictory politics of education, feminism, empowerment, consumerism, race and ethnicity, class, and popular culture have on students, idealized masculinities and femininities, and the stylization of higher education itself.