British Pantomime Performance
Intellect Books, 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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Playing with Distance in Pantoland
Is She or Isnt He? Gender and Identity
Audience Participation Community and Ritual
Artifice and Excess in Pantomime Comedy
Mixing Genres in Pantomime Music
A Utopian Community of Dancers
Topical Reference and the Unique Event
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Eingeschränkte Leseprobe - 2007
actors Aladdin appeared artiﬁce audience and performers audience members audience participation audience’s Babes ballet Beanstalk Birmingham Hippodrome characters chases chord Cinderella comedians comic commercial costumes create cross-dressed Dame Dame’s dancers deﬁned Dick Whittington distance E&B Productions entertainment entrance Eric Thompson example experience feature of pantomime ﬁgure ﬁlm ﬁnal ﬁnd ﬁrst Frow genre hero Hudd identiﬁes illusion inﬂuence interaction involvement Jack Jack Tripp Jordan Lillicrap magic male Mother Goose musical theatre pantoland pantomime dame pantomime stories pattern Photograph by Eric Photographer Eric Thompson physical comedy play plot Plymouth Theatre Royal Pong popular present principal boy quest reference reﬂect reﬂexivity relationship repertory theatres ritual Robert Workman Robinson Crusoe role routines Roy Hudd Salisbury Playhouse scenic script sense sequence signiﬁcant slapstick Sleeping Beauty slosh scenes Snow White stage there’s tradition Twankey Ugly Sisters villain What’s Widow Twankey Wishee Wishy York Theatre Royal
Seite 145 - Performance's only life is in the present. Performance cannot be saved, recorded, documented, or otherwise participate in the circulation of representations of representations: once it does so, it becomes something other than performance.
Seite 53 - Loutherbourg planned the scenery. He had previously invented transparent scenery — moonshine, sunshine, fire, volcanoes, &c. as also breaking the scene into several pieces by the laws of perspective, showing miles and miles distance. Before his time, the back was one broad flat, the whole breadth and height of the stage.
Seite 59 - By the help of gay scenes, fine habits, grand dances, appropriate music, and other decorations, he exhibited a story from Ovid's "Metamorphoses," or some other fabulous writer. Between the pauses or acts of this serious representation, he interwove a comic fable, consisting chiefly of the courtship of Harlequin and Columbine, with a variety of surprising adventures and tricks which were produced by the magic wand of...
Seite 59 - Scenes. (Flats in the Scene Room.) Cottage and long village, Medusa's Cave and 3 pieces, Grotto that changes to Country house. Inside of Merlin's cave, outside of ditto, dairy, Hermitage, Clock Chamber, Farm Yard, Country House, Church, town, chimney chamber, fort, Rialto, Harvey's hall, Othello's new Hall.
Seite 69 - process of understanding and clarification. .. can give rise to newly told stories, can sew and weave and knit different patterns into the social fabric...
Seite 59 - Metamorphoses, or some other fabulous writer. Between the pauses or acts of this serious representation, he interwove a comic fable, consisting chiefly of the courtship of Harlequin and Columbine, with a variety of surprising adventures and tricks, which were produced by the magic wand of Harlequin; such as the sudden transformation of palaces and temples to huts and cottages; of men and women into wheel-barrows and joint-stools; of trees turned to houses; colonnades to beds of tulips; and mechanic...
Seite 88 - Pamela's virtue is rewarded, the incorporation of an individual very like the reader into the society aspired to by both, a society ushered in with a happy rustle of bridal gowns and banknotes.
Seite 69 - It seems to me that any definition of this genre must begin with the premise that the individual tale was indeed a symbolic act intended to transform a specific oral folktale (and sometimes a well-known literary tale) and designed to rearrange the motifs, characters, themes, functions, and configurations in such a way that they would address the concerns of the educated and ruling classes of late feudal and early capitalist societies.