國立高雄大學圖資館 |

Language: English

Back

Nation and race in West End revue191...

Great Britain

Nation and race in West End revue1910-1930 /

Record Type:	Electronic resources : Monograph/item
Title/Author:	Nation and race in West End revueby David Linton.
Reminder of title:	1910-1930 /
Author:	Linton, David.
Published:	Cham :Springer International Publishing :2021.
Description:	vii, 202 p. :ill., digital ;24 cm.
Contained By:	Springer Nature eBook
Subject:	Musical theaterHistory20th century.England
Subject:	London (England)Fiction.
Online resource:	https://doi.org/10.1007/978-3-030-75209-5
ISBN:	9783030752095$q(electronic bk.)

Nation and race in West End revue1910-1930 /
Linton, David.

Nation and race in West End revue1910-1930 /[electronic resource] :by David Linton. - Cham :Springer International Publishing :2021. - vii, 202 p. :ill., digital ;24 cm. - Palgrave studies in British musical theatre. - Palgrave studies in British musical theatre..

Chapter 1: Reading London West End Revue -- Chapter 2: Revue in the Modern World: Possibilities and Perils -West End Identities -- Chapter 3: New Insecurities, New Form, New Identity- National Identity and Raciologies in Eightpence a Mile (1913) -- Chapter 4: Degeneration/Regeneration - The Remaking of Nation in Wartime West End Spectacular Revue -- Chapter 5: Blackbirds in London: Black Internationalism and the Black Imaginary -- Chapter 6: Class Distinction and National Identity in 1920s West End Intimate Revue.

London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain's status and position at the beginning of the twentieth century. Insecurities regarding Britain's colonial rule as exemplified in Ireland and elsewhere, were compounded by growing demands for social reform across the country - the call for women's emancipation, the growth of the labour, and the trade union movements all created a climate of mounting disillusion. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance placing satire, parody, social commentary, and critique at its core and found popularity in reflecting and responding to the variations of the new lived experiences. Multidisciplinary in its creation and realisation, revue incorporated dance, music, design, theatre, and film appropriating pre-modern theatre forms, techniques, and styles such as burlesque, music hall, pantomime, minstrelsy, and pierrot. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displayed ambivalent representations that reflected social and cultural negotiations of previously essentialised identities in the modern world. Part of a wide and diverse cultural space at the beginning of the twentieth century it was acknowledged both by the intellectual avant-garde and the workers theatre movement not only as a reflexive action, but also as an evolving dynamic multidisciplinary performance model, which was highly influential across British culture. Revue displaced the romanticism of musical comedy by combining a satirical listless detachment with a defiant sophistication that articulated a fading British hegemonic sensibility, a cultural expression of a fragile and changing social and political order. David Linton is a performer/theatre practitioner and senior lecturer in Drama at Kingston University, London, UK. His research explores issues of resistance, adaptation, and exchange in theatre. This focuses on participatory arts practice, black British performance and pre-modern popular theatre forms, and their contemporary applications, specifically mask/minstrelsy, pantomime, burlesque/neo burlesque, cabaret, pierrot, hip hop theatre, and revue.

ISBN: 9783030752095$q(electronic bk.)

Standard No.: 10.1007/978-3-030-75209-5doiSubjects--Topical Terms:

901701
Musical theater
--History--England--20th century.Subjects--Geographical Terms:

383290
London (England)
--Fiction.

LC Class. No.: ML1731.5 / .L56 2021

Dewey Class. No.: 792.60942109041

Nation and race in West End revue1910-1930 /
LDR:03848nmm a2200337 a 4500 001 605514
003 DE-He213
005 20210731124255.0
006 m d
007 cr nn 008maaau
008 211201s2021 sz s 0 eng d
020 $a 9783030752095$q(electronic bk.)
020 $a 9783030752088$q(paper)
024 7 $a 10.1007/978-3-030-75209-5 $2 doi
035 $a 978-3-030-75209-5
040 $a GP $c GP
041 0 $a eng
050 4 $a ML1731.5 $b .L56 2021
072 7 $a AN $2 bicssc
072 7 $a PER011020 $2 bisacsh
072 7 $a ATD $2 thema
082 0 4 $a 792.60942109041 $2 23
090 $a ML1731.5 $b .L761 2021
100 1 $a Linton, David. $3 901700
245 1 0 $a Nation and race in West End revue $h [electronic resource] : $b 1910-1930 / $c by David Linton.
260 $a Cham : $b Springer International Publishing : $b Imprint: Palgrave Macmillan, $c 2021.
300 $a vii, 202 p. : $b ill., digital ; $c 24 cm.
490 1 $a Palgrave studies in British musical theatre
505 0 $a Chapter 1: Reading London West End Revue -- Chapter 2: Revue in the Modern World: Possibilities and Perils -West End Identities -- Chapter 3: New Insecurities, New Form, New Identity- National Identity and Raciologies in Eightpence a Mile (1913) -- Chapter 4: Degeneration/Regeneration - The Remaking of Nation in Wartime West End Spectacular Revue -- Chapter 5: Blackbirds in London: Black Internationalism and the Black Imaginary -- Chapter 6: Class Distinction and National Identity in 1920s West End Intimate Revue.
520 $a London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britain's status and position at the beginning of the twentieth century. Insecurities regarding Britain's colonial rule as exemplified in Ireland and elsewhere, were compounded by growing demands for social reform across the country - the call for women's emancipation, the growth of the labour, and the trade union movements all created a climate of mounting disillusion. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance placing satire, parody, social commentary, and critique at its core and found popularity in reflecting and responding to the variations of the new lived experiences. Multidisciplinary in its creation and realisation, revue incorporated dance, music, design, theatre, and film appropriating pre-modern theatre forms, techniques, and styles such as burlesque, music hall, pantomime, minstrelsy, and pierrot. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displayed ambivalent representations that reflected social and cultural negotiations of previously essentialised identities in the modern world. Part of a wide and diverse cultural space at the beginning of the twentieth century it was acknowledged both by the intellectual avant-garde and the workers theatre movement not only as a reflexive action, but also as an evolving dynamic multidisciplinary performance model, which was highly influential across British culture. Revue displaced the romanticism of musical comedy by combining a satirical listless detachment with a defiant sophistication that articulated a fading British hegemonic sensibility, a cultural expression of a fragile and changing social and political order. David Linton is a performer/theatre practitioner and senior lecturer in Drama at Kingston University, London, UK. His research explores issues of resistance, adaptation, and exchange in theatre. This focuses on participatory arts practice, black British performance and pre-modern popular theatre forms, and their contemporary applications, specifically mask/minstrelsy, pantomime, burlesque/neo burlesque, cabaret, pierrot, hip hop theatre, and revue.
650 0 $a Musical theater $z England $z London $x History $y 20th century. $3 901701
650 1 4 $a Theatre History. $3 739827
650 2 4 $a National/Regional Theatre and Performance. $3 787626
650 2 4 $a Performing Arts. $3 284098
651 0 $a London (England) $v Fiction. $3 383290
651 0 $a Great Britain $x Economic policy $y 1979-1997. $3 381151
710 2 $a SpringerLink (Online service) $3 273601
773 0 $t Springer Nature eBook
830 0 $a Palgrave studies in British musical theatre. $3 816200
856 4 0 $u https://doi.org/10.1007/978-3-030-75209-5
950 $a Literature, Cultural and Media Studies (SpringerNature-41173)