British Pantomime Performance
Intellect, 2007 - 208 Seiten
British pantomime, a blend of commedia dell'arte and vaudeville-style performance, uses cross-dressing, familiar children's stories such as Cinderella, and shouts from the audience as the basis for its matchless theatrical spectacle. Millie Taylor's British Pantomime Performance explores how pantomime creates an interactive relationship with—and potentially transformative experience for—its audiences.
In its uniquely British form, pantomime draws viewers into the story through an engagement with the hero, an empathetic attachment to the success of the quest, and a complicit relationship between actors and spectators as they unite to create the live performance. A heady combination of slapstick, dance, and witty repartee, British pantomime strives to seek balance between the intellectual appreciation of artifice, the chaotic possibilities of interactivity, and the emotional engagement of narrative storytelling. British Pantomime Performance digs beneath the jokes to force a reevaluation of pantomime's importance as a dramatic art form. “Their [industry professionals] contributions provide a fascinating insight not only into some of the secrets and tricks that help produce the magic we see on stage, but also help complement and develop the ideas of the author. I would highly recommend it to anyone working in pantomime or teaching it in the post-16 sector.”—Journal of the Society of Teachers of Speech and Drama “It is rare for a scholarly work to be so handy with the nuts and bolts of performance. Millie Taylor has been the musical director of British professional pantomimes, and there has never been a better guide that this to the true priorities of those who stalwartly produce them.”—Peter Thompson, Editor of Studies in Theatre & Performance
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CONTENTS wor Acknowledgments
List of Illustrations
Whats Behind Them?
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British Pantomime Performance: British Pantomime Performance
Eingeschränkte Leseprobe - 2007
actors Aladdin alliteration allows appeared artifice audience ballet Beanstalk Beauty become century chapter characters chases Cinderella comedians comedy comic companies contains contemporary continues contribute costumes create Crusoe culture Dame dance dancers Dick Whittington direct director distance draw E&B Productions effect elements entrance Eric Thompson example expected experience fairy familiar Figure final frame genre girl gives going hero identify illusion important interaction involvement Jack live magic male material moments Mother movement opening opportunity pantomime participation particular pattern performance Photographer physical play plot Plymouth popular possibility present principal boy production provides quest reference relation relationship repertory Robin Hood role routines Royal Salisbury says scene script seen sense sequence shared similar slosh society song stage story structure style suggests theatre tradition transformation unique villain Wood