Günter Berghaus

11 Futurist performance, 1910–1916 Günter Berghaus Futurist performance Introduction In 1983, I was asked to contribute an essay to a Festschrift honouring the achievements of my colleague William Edward Yuill. I considered writing something on Dada performance (Bill, whom I directed on several occasions, could be a Dada actor in more than one respect!) and threw myself with gusto into the documents related to the Cabaret Voltaire. When I discovered that both Hugo Ball and Tristan Tzara had conducted a correspondence with the Italian Futurists, it seemed

in Back to the Futurists
Criseyde to Cressida
Wolfram R. Keller

In the burgeoning research field of medieval and early modern emotions and in studies of the performance of passion, little space has been devoted to arrogance. Defined by modern psychology as ‘an acute or chronic affective state characterized by attitudes of undue superiority towards others and manifested by an overbearing manner, presumptuousness, haughtiness, superciliousness

in Love, history and emotion in Chaucer and Shakespeare
Ritual in loyal addressing
Edward Vallance

correctly could find themselves the object of royal disfavour. Choices about who to get to present addresses and ask to introduce the addressers were also far from straightforward – not only could influential individuals be offended if they were not approached to present or introduce addresses, the choice of presenters and introducers sent out important signals about the political and religious affiliations of the addressers. Critically, these choices and this performance had to be done correctly to secure access to the

in Loyalty, memory and public opinion in England, 1658–​1727
Re-enacting Angkorian grandeur in postcolonial Cambodia (1953–70)
Michael Falser

cultural performances à la Angkorienne within Sihanouk’s strategies of cultural diplomacy 10 will be unpacked. We will conceptualise these performative genres as highly creative, but also – in line with Elin Diamond’s definition – as ‘contested spaces where meanings and desires are generated, occluded, or multiply interpreted’. 11 In cultural

in Cultures of decolonisation
The Queen’s currency and imperial pedagogies on Australia’s south-eastern settler frontiers
Penelope Edmonds

assay the currency of Queen Victoria, the British sovereign, among Kulin Aboriginal peoples. 4 In this frontier encounter, seemingly quotidian yet compelling enough for Adeney to record in his diary, is revealed an intriguing sovereignty performance. In a scene rendered as a theatrical vignette, Adeney showed the coin and tested the small Aboriginal group when he asked if they

in Mistress of everything
Susan Hayward

appearance and their performance. Besson’s stars, viewed in this light, become interesting ‘texts’ to read. His stars embody/impersonate the tension that melds violence with fragility (be it Jean Reno, Christophe Lambert, or Anne Parillaud). And, as we can see, in his films it is a tension which is not restricted to a particular gender. According to society, says Besson, women are not supposed to feel violent but that is mere

in Luc Besson
Jo Berry and Patrick Magee’s Facing the Enemy
Verity Combe

24 Performance practices and conflict resolution: Jo Berry and Patrick Magee’s Facing the Enemy Verity Combe It has been said that ‘for every one year of conflict we need ten years of reconciliation’.1 Contemporary conflict resolution differs from the more traditional kinds because it now emphasises post-conflict processes that generate solutions and is much more inter-disciplinary in its scope. Conflict resolution is both an academic and a practical field and a branch of international relations dedicated to alleviating and illuminating sources of conflict

in The Northern Ireland Troubles in Britain
Abstract only
The politics of performance and the performance of politics
Peter Yeandle and Katherine Newey

Introduction: the politics of performance and the ­performance of politics Peter Yeandle and Katherine Newey T his book aims to create a space for historians and theatre scholars to continue a dialogue about the relationship between representations of politics in the theatre and the theatricality of politics itself in the long nineteenth century. Our aim is to provoke as much as to synthesise. The period of our investigation, from the time of the Napoleonic wars to the early twentieth century, resists synthesis. This is not a unified period, spanning the years

in Politics, performance and popular culture
Sos Eltis

arms a government for effective work’: suffragists must prove not only the justice of their cause, but its popularity and political urgency.2 Suffragists harnessed display, performance and the visual arts as a key to fulfilling this demand; as the playwright, actress and suffragist Cicely Hamilton declared, ‘it was the first political agitation to organise the arts in its aid’.3 Large-scale public processions became a central and increasingly spectacular tactic, from the first ‘Mud March’ of February 1907, in which 3,000 women processed from Hyde Park Corner to

in Politics, performance and popular culture
Politics and performance in 1820
Malcolm Chase

10 ‘Love, bitter wrong, freedom, sad pity, and  lust of power’: politics and ­performance in 1820 Malcolm Chase T he year 1820 was one of European revolution and insurgency from which Britain was emphatically not exempt.1 Viewing these twelve months through the optic of theatrical performance considerably broadens our understanding of popular culture and opinion at this time. Freedom of political assembly and expression had been stringently curtailed by the repressive measures collectively known as the Six Acts, pushed through Parliament in the last days of

in Politics, performance and popular culture