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Books > Arts & Architecture > Performing arts > Theatre, drama
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Staging Fairyland - Folklore, Children's Entertainment, and Nineteenth-Century Pantomime (Hardcover)
Loot Price: R2,526
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Staging Fairyland - Folklore, Children's Entertainment, and Nineteenth-Century Pantomime (Hardcover)
Series: Series in Fairy-Tale Studies
Expected to ship within 10 - 15 working days
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Examines pantomime and theatricality in nineteenth-century
histories of folklore and the fairy tale. In nineteenth-century
Britain, the spectacular and highly profitable theatrical form
known as ""pantomime"" was part of a shared cultural repertoire and
a significant medium for the transmission of stories, especially
the fairy tales that permeated English popular culture before the
advent of folklore study. Rowdy, comedic, and slightly risque,
pantomime productions were situated in dynamic relationship with
various forms of print and material culture. Popular fairy-tale
theater also informed the production and reception of folklore
research in ways that are often overlooked. In Staging Fairyland:
Folklore, Children's Entertainment, and Nineteenth-Century
Pantomime, Jennifer Schacker reclaims the place of theatrical
performance in this history, developing a model for the intermedial
and cross-disciplinary study of narrative cultures. The case
studies that punctuate each chapter move between the realms of
print and performance, scholarship and popular culture. Schacker
examines pantomime productions of such well-known tales as
""Cinderella,""""Little Red Riding Hood,"" and ""Jack and the
Beanstalk,"" as well as others whose popularity has waned-such as
""Daniel O'Rourke"" and ""The Yellow Dwarf."" These productions
resonate with traditions of impersonation, cross-dressing, literary
imposture, masquerade, and the social practice of ""fancy dress.""
Schacker also traces the complex histories of Mother Goose and
Mother Bunch, who were often cast as the embodiments of both
tale-telling and stage magic and who move through various genres of
narrative and forms of print culture. Theoretically informed and
methodologically innovative, these examinations push at the limits
of prevailing approaches to the fairy tale across media. They also
demonstrate the degree to which perspectives on the fairy tale as
children's entertainment often obscure the complex histories and
ideological underpinnings ofspecific tales. Mapping the intermedial
histories of tales requires a fundamental reconfi guration of our
thinking about early folklore study and about ""fairy tales"":
their bearing on questions of genre and ideology but also their
signifying possibilities-past, present, and future. Readers
interested in folklore, fairy-tale studies, children's literature,
and performance studies will embrace this informative monograph.
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