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Women and Comedy: History, Theory, Practice presents the most
current international scholarship on the complexity and subversive
potential of women's comedic speech, literature, and performance.
Earlier comedy theorists such as Freud and Bergson did not envision
women as either the agents or audiences of comedy, only as its
targets. Only more recently have scholarly studies of comedy begun
to recognize and historicize women's contributions to-and political
uses of-comedy. The essays collected here demonstrate the breadth
of current scholarship on gender and comedy, spanning centuries of
literature and a diversity of methodologies. Through a
reconsideration of literary, theatrical, and mass media texts from
the Classical period to the present, Women and Comedy: History,
Theory, Practice responds to the historical marginalization and/or
trivialization of both women and comedy. The essays collected in
this volume assert the importance of recognizing the role of women
and comedy in order to understand these texts, their historical
contexts, and their possibilities and limits as models for social
engagement. In the spirit of comedy itself, these analyses allow
for opportunities to challenge and reevaluate the theoretical
approaches themselves.
All roads lead to London - and to the West End theatre. This book
presents a new history of the beginnings of the modern world of
London entertainment. Putting female-centred, gender-challenging
managements and styles at the centre, it redraws the map of
performance history in the Victorian capital of the world. Bratton
argues for the importance in Victorian culture of venues like the
little Strand Theatre and the Gallery of Illustration in Regent
Street in the experience of mid-century London, and of plays drawn
from the work of Charles Dickens as well as burlesques by the early
writers of Punch. Discovering a much more dynamic and often
woman-led entertainment industry at the heart of the British
Empire, this book seeks a new understanding of the work of women
including Eliza Vestris, Mary Ann Keeley and Marie Wilton in
creating the template for a magical new theatre of music, feeling
and spectacle.
Women and Comedy: History, Theory, Practice presents the most
current international scholarship on the complexity and subversive
potential of women's comedic speech, literature, and performance.
Earlier comedy theorists such as Freud and Bergson did not envision
women as either the agents or audiences of comedy, only as its
targets. Only more recently have scholarly studies of comedy begun
to recognize and historicize women's contributions to-and political
uses of-comedy. The essays collected here demonstrate the breadth
of current scholarship on gender and comedy, spanning centuries of
literature and a diversity of methodologies. Through a
reconsideration of literary, theatrical, and mass media texts from
the Classical period to the present, Women and Comedy: History,
Theory, Practice responds to the historical marginalization and/or
trivialization of both women and comedy. The essays collected in
this volume assert the importance of recognizing the role of women
and comedy in order to understand these texts, their historical
contexts, and their possibilities and limits as models for social
engagement. In the spirit of comedy itself, these analyses allow
for opportunities to challenge and reevaluate the theoretical
approaches themselves.
The Victorian Clown, first published in 2006, is a micro-history of
mid-Victorian comedy, spun out of the life and work of two
professional clowns. Their previously unpublished manuscripts -
James Frowde's account of his young life with the famous Henglers'
circus in the 1850s and Thomas Lawrence's 1871 gag book - offer
unique, unmediated access to the grass roots of popular
entertainment. Through them this book explores the role of the
circus clown at the height of equestrian entertainment in Britain,
when the comic managed audience attention for the riders and
acrobats, parodying their skills in his own tumbling and
contortionism, and also offered a running commentary on the times
through his own 'wheezes' - stand-up comedy sets. Plays in the ring
connect the circus to the stage, and both these men were also comic
singers, giving a sharp insight into popular music just as it was
being transformed by the new institution of music hall.
The Victorian Clown, first published in 2006, is a micro-history of
mid-Victorian comedy, spun out of the life and work of two
professional clowns. Their previously unpublished manuscripts -
James Frowde's account of his young life with the famous Henglers'
circus in the 1850s and Thomas Lawrence's 1871 gag book - offer
unique, unmediated access to the grass roots of popular
entertainment. Through them this book explores the role of the
circus clown at the height of equestrian entertainment in Britain,
when the comic managed audience attention for the riders and
acrobats, parodying their skills in his own tumbling and
contortionism, and also offered a running commentary on the times
through his own 'wheezes' - stand-up comedy sets. Plays in the ring
connect the circus to the stage, and both these men were also comic
singers, giving a sharp insight into popular music just as it was
being transformed by the new institution of music hall.
Theater history has often been interpreted in ways which highlight and omit key elements. Jacky Bratton explores this dilemma by examining how theater history has been chronicled and interpreted. Analyzing case studies from nineteenth-century British theater, Bratton reveals the difference between the existence of "the drama" (plays and play literature) and "the stage" (performance, theater building, and attendance).
Theater history has often been interpreted in ways which highlight and omit key elements. Jacky Bratton explores this dilemma by examining how theater history has been chronicled and interpreted. Analyzing case studies from nineteenth-century British theater, Bratton reveals the difference between the existence of "the drama" (plays and play literature) and "the stage" (performance, theater building, and attendance).
All roads lead to London - and to the West End theatre. This book
presents a new history of the beginnings of the modern world of
London entertainment. Putting female-centred, gender-challenging
managements and styles at the centre, it redraws the map of
performance history in the Victorian capital of the world. Bratton
argues for the importance in Victorian culture of venues like the
little Strand Theatre and the Gallery of Illustration in Regent
Street in the experience of mid-century London, and of plays drawn
from the work of Charles Dickens as well as burlesques by the early
writers of Punch. Discovering a much more dynamic and often
woman-led entertainment industry at the heart of the British
Empire, this book seeks a new understanding of the work of women
including Eliza Vestris, Mary Ann Keeley and Marie Wilton in
creating the template for a magical new theatre of music, feeling
and spectacle.
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