Search results

While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. Bringing together a range of scholars that attend carefully to the performances, acting styles, and historical influences of Spanish film, Performance and Spanish Film is the first book to place the process of Spanish acting centre stage. Comprising fifteen original essays, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. It situates the development of Spanish screen acting in both its national and global contexts, tracing acting techniques that are largely indigenous to Spain, as well as unpicking the ways in which Spanish performance has frequently been shaped by international influences and forces. As the volume ultimately demonstrates, acting can serve as a powerful site of meaning through which broader questions around Spanish film practices, culture and society can be explored.

Abstract only
From Les Bronzes to Ridicule
Lisa Downing

extraordinarily hybrid film. It blends performance techniques lifted from the café-théâtre with a presentation of issues such as the function of language, power and ethics, that suggests an intertext with the thought of modern critical thinkers, Butler, Foucault and Lacan. Moreover, Ridicule constitutes a brave choice for a director of comedies. In this film, the social functions of humour, wit and laughter are stripped

in Patrice Leconte
Abstract only
Trish Winter and Simon Keegan-Phipps

embraced and internalised as England’s own form of musical virtuosity, distinct from those of neighbouring traditions, so too has the specific practice of fiddle-singing become regarded as a technical demonstration of a specifically English kind, even though the activity is also commonplace in various musical traditions across America. It might be argued that here the Englishness is inherent in the contradistinction of this performance technique with perceived common practice in Celtic musical traditions. Beyond this distinctiveness of the activity, the nature of fiddle

in Performing Englishness
Female actors, impersonation, and cultural transmission
Susannah Crowder

contemporary ‘archive’. Modern scholars situate the Pucelle actors infrequently within religious contexts as well, despite extensive study of Joan’s own 208 Performing women sanctity and connections to visionary and prophetic culture.63 Just as the spiritual elements of the performances of other Pucelle actors have been eliminated by the fifteenth-century ‘archive’, the historiography of the fausse Pucelle can be charged with the elision of this facet of Claude’s practice. Nonetheless, the Chronique du curé credits Claude with employing ‘prophetic’ performance techniques

in Performing women
Peter Yeandle, Katherine Newey and Jeffrey Richards

of topical referencing of industrial unrest within plays and pantomimes but that the strike and the protest march borrowed a series of performance techniques. Richard Gaunt’s and Marcus Morris’s essays both constitute revisionist biographical analyses. Gaunt is concerned to deconstruct Robert Peel’s self-promotion as an actor-dramatist and the development of the idea of Parliament as a theatrical space. Morris’s investigation of early leaders of the labour movement argues that scrutiny of clothing and other forms of non-verbal communication is required in order to

in Politics, performance and popular culture
Realism, recognition and representation
Jonathan Bignell

usually follows a cinematic narrative structure and employs the standard naturalist/realist performance techniques of screen drama’ (Paget, 1998 : 82). The television medium is especially appropriate for these two divergent components of docudrama because television has always offered both of them to its audiences, though usually in institutionally separated factual and fictional genres. British docudrama’s sobriety is based on a

in Genre and performance
Playing black in late seventeenth-century France and Spain
Noémie Ndiaye

, mobilised the performance technique of blackface, which had long been used all across Europe. From medieval drama including French mystères , Spanish autos and English cycle plays where the devil was performed with soot, to the elaborate cosmetics used in most seventeenth-century European commercial theatres to represent sub-Saharan Africans, via the black veils and visors

in Transnational connections in early modern theatre
Abstract only
Genre and performance in Shahrukh Khan’s post-millennial films
Rayna Denison

this chapter to attempt detailed micro-analyses of performance within the entirety of even three of Khan’s films. Instead, key generic and performance techniques from across the films will be selected and offered as examples of Khan’s acting choices in relation to coherency and the nuance of his performance style. To begin, a mutated version of John O. Thompson’s commutation test will be used to compare Khan’s performances in

in Genre and performance
The 1988–89 NYSF Coriolanus
Robert Ormsby

topicality. Rather, the NYSF Coriolanus was a theatrically radical presentation with a heavily cut script, markedly stylized performance techniques and a chorus or ensemble that played many of the minor roles, all precisely choreographed and synchronized to Larry Spivak’s live musical score. The production, furthermore, reflected Berkoff’s avowed collectivist political beliefs to the extent that the

in Coriolanus
Robert Lepage’s Coriolan
Robert Ormsby

performance techniques that sustain this authority by reinforcing a sense of British cultural superiority. Québécois response provides a fuller image of the diverse local concerns at stake in the performance of globalized Shakespeare in so far as it reflects the struggle that Lepage outlines in the quotations at the start of this chapter: the urge, on the one hand, to take part in global culture through an

in Coriolanus