PART III The performance of politics T he essays in Part II focused on topical referencing – on how theatrical performance, across popular entertainment genres, operated as sites for the transmission, in staged performances, of political ideologies. What becomes clear is the extent to which mass entertainments sought both to reflect and direct popular opinion and how they, in doing so, demonstrated the remarkable reactivity and flexibility of Victorian theatre to act as a location for the mediation of contemporary politics through popular culture. Popular

in Politics, performance and popular culture

PART I Conceptualising performance, theorising politics T he essays in this section span the century chronologically, and cover the principal genres of popular entertainment in the nineteenth century: melodrama and pantomime. They take us from Manchester in the early nineteenth century, after the final defeat of Napoleon in 1815, to Gladstone’s advocacy for a National Theatre at the end of the nineteenth century – and beyond, into the performative ferment of the campaign for female suffrage. In all these essays, theatre and the theatrical are placed in

in Politics, performance and popular culture
Howard Barker and the acted life – some thoughts

R&G 02_Tonra 01 11/10/2013 16:11 Page 21 2 Performance within performance: Howard Barker and the acted life – some thoughts Melanie Jessop It is a cliché that Howard Barker’s texts are rewarding for actors, who delight in the muscularity of the language, the scale of imaginative landscape and liberty from the utilitarian. Is there a Barker actor? Are the technical challenges of playing in Barker unique, or do they surface in any engagement with a poetic classical text? The definition of a Wrestling School acting style has been elusive – the company is fluid and

in Howard Barker’s Art of Theatre
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This is a volume of essays on performance construed in the largest sense, as theatre and pageantry, as the deployment of a personal style, as imagery of various kinds, and even as books, which in the early modern era often include strongly performative elements. Most of the essays are recent, and five are unpublished. They fall logically into four groups: on personal style and

in Spectacular Performances
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Absence and presence in Reykjavik, Iceland, 1972

8 Performance notes: absence and presence in Reykjavik, Iceland, 1972 Good guys and bad guys Bobby Fischer’s 1972 World Championship contest with the Soviet title-holder Boris Spassky, held in the Exhibition Hall at Laugardalshöll Stadium in Reykjavik, Iceland, formally began on 11 July and, after 21 games, ended on 31 August with Fischer victorious. His reign was short-lived. Failing to agree to a contest with the Soviet challenger Anatoly Karpov, he was stripped of the title in April 1975, and only returned to competitive play in 1992 with a parodic replication

in A cultural history of chess-players
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Fairground, cabaret, exhibition

6 Performance spaces: fairground, cabaret, exhibition The public needs to be violated in unusual positions. Francis Picabia (1978: 25) In Dada’s privileged spaces – the fairground, the cabaret, the exhibition, the cinema – from Zurich’s Cabaret Voltaire to the Salle Gaveau in Paris, via the Cologne Brauhaus Winter brewery or Otto Burchardt’s Berlin art gallery, it is enlightening to consider dadaist activities in terms of performance rather than simply spectacle, process rather than product. Although the term ‘performance art’ was first used around 1970 to

in Dada bodies

Before I took up an academic career as a researcher and lecturer, I was an actor. Having said that, back in the 1980s, I remember making the decision to call myself a performer instead of an actor. If, in its most constricted sense, acting is understood as a sub-set of performance caught up in the rendering of a dramatic character, then this did not fully encompass what I felt I was doing at the time. In

in Genre and performance
Vocal performance, gesture and technology in Spanish film

5 The sounds of José Luis López Vázquez: vocal performance, gesture and technology in Spanish film Tom Whittaker To speak of the late actor José Luis López Vázquez is to speak of the history of Spanish sound acting. Alongside his characteristically manic gestures, López Vázquez’ was widely known for his distinctive style of vocal performance. Indeed, his last dramatic role in 2009 was that of a disembodied voice. López Vázquez was originally commissioned to provide the voice-​over for Pedro Olea’s theatrical adaptation of the film El pisito/​The Little Apartment

in Performance and Spanish film

’s Performances scrutinised for traces of the writer’s precise religious allegiances – and this holds not only for straightforwardly religious works, like the sermons or Devotions, but also for his divine and erotic poems (Martz, 1954; Lewalski, 1979; DiPasquale, 1999). The present study is no exception. I, too, have shown a preference for some of Donne’s poems over others, and, although my approach strives for greater comprehensiveness by focusing not only on Donne’s Songs and Sonets but also on his divine poetry, as well as his sermons, letters and Devotions, one cannot

in John Donne’s Performances
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The performance of Basqueness by Carmelo Gómez and Silvia Munt

14 Body doubles: the performance of Basqueness by Carmelo Gómez and Silvia Munt Rob Stone Whereas regional stereotypes are often subject to parody, the construction of nationalist archetypes demands more formal analysis of the negotiations and compromises that feed into the performance of identity. Setting aside the eternal argument of whether Basque cinema actually exists,1 yet also hitting it head on, this chapter explores one of many paradoxes that inform and complicate its definition, namely a reliance upon the non-​Basque actors León-​born Carmelo Gómez and

in Performance and Spanish film