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 22
... continues in repertory theatres . In the first two decades of the twentieth century producers began to appear who created pantomimes for the larger cities and moved them from one venue to another from year to year . ' Partly because of ...
... continues in repertory theatres . In the first two decades of the twentieth century producers began to appear who created pantomimes for the larger cities and moved them from one venue to another from year to year . ' Partly because of ...
Seite 126
... continue . This device of giving the audience a task , the completion of which allows the plot to continue is used in many pantomimes across the country . For example , towards the end of Cinderella the Ugly Sisters often imprison ...
... continue . This device of giving the audience a task , the completion of which allows the plot to continue is used in many pantomimes across the country . For example , towards the end of Cinderella the Ugly Sisters often imprison ...
Seite 168
... continues into ' Let the Good Times Roll ' for Gary Wilmot's opening spot . A similar pattern was evident in Cinderella at Manchester Opera House . Dick Whittington at the Yvonne Arnaud Theatre in Guildford used a similar format to ...
... continues into ' Let the Good Times Roll ' for Gary Wilmot's opening spot . A similar pattern was evident in Cinderella at Manchester Opera House . Dick Whittington at the Yvonne Arnaud Theatre in Guildford used a similar format to ...
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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