British Pantomime PerformanceIntellect, 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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Seite 53
... contemporary pantomime ( 1985 : 154 ) . By this time ( mid - nineteenth century ) the transformation was no longer the transformation of characters from the first part to the Harlequinade , but a scenic display . In the post - war ...
... contemporary pantomime ( 1985 : 154 ) . By this time ( mid - nineteenth century ) the transformation was no longer the transformation of characters from the first part to the Harlequinade , but a scenic display . In the post - war ...
Seite 70
Millie Taylor. political references , references to the media and the inclusion of contemporary music and dance . The stories and characters also become shaded by reference to contemporary culture . The fox - hunting scene in Cinderella ...
Millie Taylor. political references , references to the media and the inclusion of contemporary music and dance . The stories and characters also become shaded by reference to contemporary culture . The fox - hunting scene in Cinderella ...
Seite 108
... contemporary pantomime dames , first appeared in this role at Drury Lane in 1888 as the naughty aunt . Later , he often worked as a double act with Herbert Campbell , which meant that he sometimes played male characters to Campbell's ...
... contemporary pantomime dames , first appeared in this role at Drury Lane in 1888 as the naughty aunt . Later , he often worked as a double act with Herbert Campbell , which meant that he sometimes played male characters to Campbell's ...
Inhalt
CONTENTS | 6 |
Money Matters | 21 |
Fantasy and Illusion in Design | 51 |
Urheberrecht | |
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Häufige Begriffe und Wortgruppen
Abanazar actors Aladdin appeared artifice audience and performers audience members audience participation Babes ballet Beanstalk Birmingham Hippodrome characters chases chord Chris Cinderella comedians comic commercial contemporary pantomime costumes create cross-dressed Dame dancers Dick Whittington distance E&B Productions entertainment entrance example experience fairy stories familiar feature of pantomime Figure film Frow genre hero identify illusion interaction involvement Jack Jack Tripp Jordan Lillicrap Lily Savage magic male Mother Goose musical theatre opportunity pantoland pantomime dame pantomime stories pattern Photograph by Eric Photographer Eric Thompson physical comedy play plot Plymouth Theatre Royal Pong popular present principal boy provides quest reference rehearsal relationship repertory theatres ritual Robert Workman Robinson Crusoe role routines Roy Hudd Salisbury Playhouse scenic script sense sequence slapstick Sleeping Beauty slosh scenes Snow White stage Theatr Clywd tradition transformation scenes Ugly Sisters villain Widow Twankey Wishee Wishy York Theatre Royal
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