The chapter examines the changes to the dominion of nursing work on active service overseas. The chapter first explores the extensions to the nursing role, most particularly the care of wounds and burns. This is followed by a discussion of the expansion of nursing duties into those that had hitherto been the domain of medicine. These roles include the commencement and management of blood transfusions, surgical work and anaesthesia. Finally the chapter considers ‘new work’, the most critical of which was the administration and use of penicillin. The constantly shifting requirements of war nursing prevented Army nurses from remaining in a professional comfort zone of accepted roles and regimes. The experience of living with uncertainty may have caused anxieties for some, but the active participation in new treatment modalities suggests that nurses who went to war were keen to move beyond the normal boundaries of nursing practice and many relished the opportunity to do so. The chapter argues that the developments in practice and the increased confidence nursing sisters displayed with this new work altered their working relationships with medical officers from one of deference to one of collegiality, enabling more productive decisions for their soldier-patients’ care.
Military success in war was contingent on men sustaining a determination to fight. Persuading men to continue fighting or returning them to combat after illness or injury depended on maintaining their morale. The use of female nurses in upholding this resolve was integral to the war effort. The chapter explores the value of the presence of women in hospital wards and in social environments on active service overseas. It considers the occasional antipathy of military authorities and male colleagues to the location of female nurses in war zones. However, it is argued through the provision of expert clinical care, domestic acumen and the use of their ‘female-selves’, nurses were able to salvage men in readiness to return to battle. Nursing sisters thus created a space for themselves in frontline duties. However, the chapter argues, this was not without its difficulties. As single, white women in far-flung places, this position situated nurses in a liminal place between the respectable European colonial wife and the ‘biohazardous’ local women. The chapter acknowledges these difficulties, but also demonstrates how the nurses negotiated their way through these contradictions to their advantage and for those in their care.
This chapter is inspired by Frantz Fanon’s autobiographical account in Black
Skin, White Masks of how the racist gaze makes him an object surrounded by
other objects. Its narrative charts the author’s intellectual move from an
attempt to fathom the world and how it works to an advocacy of what Fanon
sees as an everyday openness to each other. In recounting how the family
photograph as object survives the living body, and telling of the search for
a missing family member in the archives, it traces the interweaving of life
and thought over time. It is underpinned by an anger at objectification, and
reveals how the unknown has an impact on what and who we think we know.
There has been little attempt to place Margaret Rutherford (1892–1972) historically, other than in a trajectory or tradition of roles typically defined as ‘eccentrics’. Even Rutherford herself referred dismissively to ‘my usual dotty old lady stuff’. This chapter, however, engages with the paradox that ‘eccentricity’, which normally refers to unconventional views or behaviour, has its own set of theatrical characteristics and is, in fact, central to the English comic inheritance. A comparative analysis is made of some of the ‘classic’ female roles that Rutherford took on, alongside an exploration of some of the famous parts she initiated, in light of the work of other contemporaneous actresses who may be said to have carried on the eccentric tradition in their own distinctive ways.
Actresses, charity work and the early twentieth-century theatre profession
This chapter considers aspects of public charity work undertaken by actresses in the 1910s, focusing on their work selling for charitable causes within the commercial sector at Harrods department store in London. Charity labour has been overlooked in understandings of the theatre industry during this period, yet the considerable amount of voluntary work that actresses undertook was significant to the continuing improved social and cultural position of the British stage more generally. Charity work at home and overseas brought an increasing level of professionalisation to actresses’ work in the voluntary sector and wider recognition of the charitable activities they undertook.
Winifred Dolan worked as an actress, theatre administrator, teacher and producer. She outlined her early work in West End theatre in her memoir, A Chronicle of Small Beer, but this narrative does not cover her subsequent work as a drama teacher and producer of amateur theatre. This chapter examines Dolan’s West End practice as her formative experience and focuses on her subsequent career: teaching drama and designing suitable spaces for that teaching and for amateur productions. An analysis of the range of evidence left by Dolan reveals the rich and complex links between professional theatre work, the teaching profession and the amateur theatre movement in the first half of the twentieth century.
This chapter traces the evolution of Stone’s political consciousness and his articulation of America’s twentieth century outlook by revisiting JFK, the film that placed Stone centre-stage in this assault on establishment doctrine and routine. It then considers how that critique was honed in his subsequent feature films – W. - documentary work and in particular Comandante (2003) and South of the Border (2010). The chapter also revisits the debate about drama as history as well as locating Stone’s documentary work within that genre’s tradition and trends over recent years including the increasing presence of feature film aesthetics and entertainment values.
The book knits together two of the most significant themes in the social and cultural history of modern Ireland - mass emigration and religious change - and aims to provide fresh insight into both. It addresses the churches' responses to emigration, both in theory and in practice. The book also assesses how emigration impacted on the churches both in relation to their status in Ireland, and in terms of their ability to spread their influence abroad. It first deals with the theoretical positions of the clergy of each denomination in relation to emigration and how they changed over the course of the nineteenth century, as the character of emigration itself altered. It then explores the extent of practical clerical involvement in the temporal aspects of emigration. This includes attempts to prevent or limit it, a variety of facilitation services informally offered by parish clergymen, church-backed moves to safeguard emigrant welfare, clerical advice-giving and clerically planned schemes of migration. Irish monks between the fifth and eighth centuries had spread Christianity all over Europe, and should act as an inspiration to the modern cleric. Tied in with this reading of the past, of course, was a very particular view of the present: the perception that emigration represented the enactment of a providential mission to spread the faith.
The chapter considers the civilian world into which the Q.A.s returned at the end of the war and explores the options they faced. It begins with the immediate aftermath of war and the opportunities for interesting and worthwhile work that would only exacerbate the nursing sisters’ difficulties on demobilisation. This is followed by a consideration of the return to Britain and the options open for professional practice. The chapter argues that for some the option of interesting work remained, either in the colonial service or the military. However the main professional opening for returning nurses was the crisis ridden civilian hospital system that wanted and recruited cheap, malleable workers; this was not an attractive choice for demobbed nursing sisters. The chapter argues that despite nursing being a female dominated profession, the ideology that encouraged women to return to the home in the aftermath of war had significant ramifications for demobilised nurses. The social structure precluded married women from working outside the home and funds for postgraduate training available to returning male doctors were not offered to nurses. As the chapter maintains, most nursing sisters married, leaving the profession without their considerable talents and new ways of practicing.
This concluding chapter analyses two works of outdoor installation art that exemplify the production of postindustrial space. Compagnie Fer à Coudre’s Floraferrique and Fabrice Giraud’s Le Murmure des Plantes 2.0 fuse natural flora with industrial aesthetics. This chapter examines the installations as street theatre, demonstrating how they invite spectatorial participation even as they create a doubled temporality that complicates the call to action. Through their interplay of human and non-human agency, engagement with ecology, and construction of alternate pasts and futures, these projects offer new insight into street theatre's temporal, spatial, and political work.