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 21 1 Locating solo performance Hannah Gadsby’s critically acclaimed show Nanette (2017) may or may not be her last work as a stand-​up comedian. Toured internationally since its premiere at the Melbourne International Comedy Festival, the show presents a swansong to comedy in which Gadsby revisits material from earlier acts –​most notably, jokes about her experiences of homophobia –​ to refuse the comedian’s obligation to deliver cathartic relief to an audience confronted with difficult topics. ‘I have a responsibility to make you laugh’, she offers at one

in Queer exceptions
Leader effects in the 2016 election

11 Popularity and performance? Leader effects in the 2016 election Stephen Quinlan and Eoin O’Malley Introduction: What role for leaders in shaping the vote? Understanding what motivated Irish voters to vote the way they did in 2016 requires us to go beyond the traditional determinants of voting behaviour and to look at alternative stimuli. In this chapter, we focus on one of these, namely the impact of party leaders on vote choice. A prominent strand of research in political science suggests that party leaders have grown in importance in recent decades, with

in The post-crisis Irish voter
Denim and silk

victim of the bone-ache’ ( Punch ), Barber ‘an arrogant dandy of the old Café Royal’ ( Daily Telegraph ). The performance’s effectiveness was due in part to the sense, both dramatic and metatheatrical, that Pasco’s Jaques was a man haunting the periphery of this Arden’s with-it world (‘peering at the action with beady distaste through rimless glasses’, as Robert Cushman characterized it in the

in As You Like It
Applied drama, ‘sympathetic presence’ and person-centred nursing

pioneering collaboration, Drama lecturer Dr Matt Jennings has worked with nursing lecturers Pat Deeny and Mary Findon-Henry to improve the communication and interpersonal skills of UU adult nursing and mental health nursing students since 2013. The project initially intended simply to improve the nursing students’ performance in the role-play assessments used to evaluate their clinical skills in the final year of their studies. However, as the project developed, it emerged that specific techniques derived from drama training provided nurses with a systematic approach to

in Performing care

Cheap street  5  Street markets, informality and the performance of London In the view of the French sociologist Michel de Certeau, the market has a dual function: ‘at the same time as it is place of business, it is a place of festival’.1 Other writers have also identified the overlap in the market between commerce and festivity; in her 1936 book on London’s street markets Mary Benedetta claimed that ‘the tradition of the [London] street markets … forms a colourful link with the past that goes back to before the days of Bartholomew Fair’.2 One of a number of

in Cheap Street
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Supernatural Masculinity in Gothic Fiction

Applying Butler‘s gender performance theory and critiquing authoritative philosophical discourse on the sublime, the essay examines the Gothic sublime as phantasmatic masculine drag. Focusing on Walpole‘s flamboyant flouting of Longinus‘s rhetorical prescriptions, the essay also explores how The Castle ofOtrantos fictional progeny continue to drag sublimity into Gothic drag king performances.

Gothic Studies
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The melodramatic and the pantomimic

3 Bubbles of the day: the melodramatic and  the pantomimic Katherine Newey A s the two previous chapters have argued, melodrama was a vital frame of reference, or in Raymond Williams’s term, a ‘structure of feeling’, for nineteenth-century oppositional and radical politics. Poole and Sanders chart the fluidity of form and action between public politics, performance and the aesthetics and practices of the early nineteenth-century stage. In this chapter, I will explore the ways in which pantomime, the other dominant popular theatrical genre of the period, offers

in Politics, performance and popular culture
Popular imperialism and the music hall ballet

celebrate imperial unity. The four home nations were depicted in traditional song and national dances. Dancers, representing forces from the empire, joined the throng. Further members of the corps, in the military dress of America and European nations, arrived on stage to the sound of their national music (see Figure 6). Following re-enactments of military drills and a sham fight ‘the curtain descended upon a picturesque tableau, showing Britannia Popular imperialism and the music hall ballet enthroned, surrounded by troops’. The performance sold out and ran until

in Politics, performance and popular culture

of Commons in the debates on the Quebec Government Bill, in May 1791, while Burke’s theatrical politics led him to brandish a dagger in the chamber, eighteen months later (28 December 1792), in order to demonstrate the facility with which arms could be procured during a period of revolutionary 217 218 The performance of politics turmoil. Sheridan spoiled Burke’s dramatic effect somewhat by observing, ‘the gentleman, I see, has brought his knife with him, but where is his fork?’7 ‘Politics was theatrical’, Hilton has argued – perhaps no more fatally so for all

in Politics, performance and popular culture

4 Theatrical hierarchy, cultural capital and the legitimate/illegitimate divide Caroline Radcliffe T hroughout the 1866 hearings of the Parliamentary Select Committee on Theatrical Licensing, the performance of dramatic sketches in music halls had been fiercely debated and contested.1 When the proceedings of the Select Committee on Dramatic Literature re-opened the debate in 1892, tensions had escalated between the figureheads of the respective industries over the cultural, hierarchical and economic interests of the legitimate theatre and the music halls. This

in Politics, performance and popular culture