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The primary aesthetics of Chartism

practical ways in which theatrical performance and ideas of the theatre manifest themselves within early nineteenth-century radicalism. It then examines two contrasting yet exemplary radical approaches towards the theatrical by way of identifying the political and cultural stakes at issue here, before attempting to construct a taxonomy of the various modes of The platform and the stage relationship between theatre and politics in the early nineteenth century. This taxonomy begins with radicalism’s immediate interest in the theatre before discussing its metaphorical

in Politics, performance and popular culture

Bush Empire, a Hackney Empire, an Islington Empire, a Holloway Empire and a Holborn Empire, which covered a wide variety of audiences in class terms. What of the legitimate theatre? Porter claims, having consulted the list of play titles in the Lord Chamberlain’s collection, that ‘very few related to 175 176 Politics in performance the Empire in any way’.7 Consulting the same list several years later, Marty Gould in his excellent recent book Nineteenth-Century Theatre and the Imperial Encounter (2011) has identified 300 imperially themed plays, on such subjects

in Politics, performance and popular culture
Melodrama and politics in late Georgian England

providential plotting, its expressions of highly charged emotion, and its tendency to personify absolutes like good and evil were represented 22 Conceptualising performance, theorising politics in a wide variety of social settings, not just on the stage. Indeed, a version of the ‘melodramatic’ seems to have served as a behavioral and expressive model for several generations of English people.5 More widely still, Rohan McWilliam writes that ‘the hallmarks of ­melodramatic thinking with its repertoire of extreme emotions, hidden conspiracies and grand gestures could be

in Politics, performance and popular culture

Westminster.2 Opposition to this and a desire by Irish nationalists for partial or complete self-governance 132 Politics in performance continued into the twentieth century and the creation of the Irish Free State in 1921 (and, for Northern Ireland, up until the present day). The phrase ‘Home Rule’ in relation to Irish politics was in use in the 1860s, at which point there were conflicting views: some in Ireland wanted a federal system in which an Irish parliament would control domestic issues, but more militant nationalists argued for complete separation from Great

in Politics, performance and popular culture

4 Performing the border and queer rasquachismo in Guillermo Gómez-​Peña’s performance art Where Gregory Scofield’s negotiation of the practice and habitus of citizenship in Canada is focused on the Métis, a group whose rights and identity have been debated and unjustly dismissed for centuries, this chapter recrosses the 49th parallel and returns to the border between the United States and Mexico, the site that features most prominently in work by Mexican-​ American and self-​ identifying Chicano performance artist and cultural theorist Guillermo Gómez-​ Peña

in Crossing borders and queering citizenship

This chapter considers the performance of songs in the musical comedy films known as chanchadas , which dominated film production in Brazil from the late 1930s to the beginning of the 1960s, and initially at least took their inspiration from the Hollywood musical. The majority of these low-budget films were produced by the Atlântida studios, based in Rio de Janeiro, and each contained, on average

in Screening songs in Hispanic and Lusophone cinema

2 Fiscal policies, social spending and economic performance in France, Germany and the UK since 1970 Norman Flynn Introduction This chapter looks at the post-1970 development of social policy, its fiscal implications and economic consequences in three European countries. Its purpose is to test a stereotypical ‘left’ proposition, formulated in defence of European social democracy against neo-liberalism, such as: There is a ‘European Social Model’, incorporating a high level of social protection for unemployment and retirement, which, since 1973, has been

in In search of social democracy

5 Post-apartheid repertoires of memory Artists . . . are not agents of power, but campaigners for invisible values no human being can live without. (Brink, 1996: 58) I turn now from these performances of memory by state or cultural institutions to look at embodied repertoires in the public sphere and in theatres. While the TRC clearly attempted to hear hidden stories and renegotiate the perceptions and values of South Africans, its effect was limited because a state of mind, values, and peoples’ views cannot be easily changed. Thus the extent to which the

in South African performance and archives of memory
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The Voortrekker Monument and Freedom Park

Afrikaner nationalism in and through the 1938 Voortrekker Festival and the inauguration of the Voortrekker Monument in 1949; some references to the 1952 Jan van Riebeeck Tercentenary Festival Fair and the 1988 commemoration of the Great Trek will supplement this analysis. The chapter then compares the renegotiation of the meaning of the 92 South African performance and archives of memory Voortrekker Monument as a site of memory in the post-apartheid context with Freedom Park, which is twinned with this Monument. In particular it looks at how the past is being

in South African performance and archives of memory

compares with how other African countries have approached rewriting their history in the post-colonial context (Neale, 1985). This project takes its starting point from Desmond Tutu’s formulation of post-apartheid South Africa as the ‘rainbow nation’, a formulation that was elaborated on by Mandela (1995) in his first month of office. It was adopted by the ANC as the political symbol of unity for a 134 South African performance and archives of memory country of diverse and divided people. This chapter explores how Mbeki used the South Africa–Mali project, within the

in South African performance and archives of memory