This paper considers the impact of extra-filmic elements on the cultural
decision-making behaviours of a small rural Australian cinema audience, focusing on
the rural New South Wales village of Cobargo in the late 1920s. In considering how
why such fragile rural picture show operations either failed or became successful, it
is critical to take account of rural geographies, particularly in terms of early road
development, and the nature and state of road bridges in flood-prone areas. The paper
argues that these elements are part of a broad ecosystemic framework for cultural
decision-making which can assist in our interpretation of early newspaper advertising
and promotion for picture show programs.
Victorian touring actresses: Crossing boundaries and negotiating the cultural
landscape provides a new perspective on the on- and offstage lives of women
working in nineteenth-century theatre, and affirms the central role of touring,
both within the United Kingdom and in North America and Australasia. Drawing on
extensive archival research, it features a cross-section of neglected performers
whose dramatic specialisms range from tragedy to burlesque. Although they were
employed as stars in their own time, their contribution to the industry has
largely been forgotten. The book’s innovative organisation follows a natural
lifecycle, enabling a detailed examination of the practical challenges and
opportunities typically encountered by the actress at each stage of her working
life. Individual experiences are scrutinised to highlight the career
implications of strategies adopted to cope with the demands of the profession,
the physical potential of the actress’s body, and the operation of gendered
power on and offstage. Analysis is situated in a wide contextual framework and
reveals how reception and success depended on the performer’s response to the
changing political, economic, social and cultural landscape as well as to
developments in professional practice and organisation. The book concludes with
discussion of the legacies of the performers, linking their experiences to the
Women Art Workers constitutes the first comprehensive history of the network of women who worked at the heart of the English Arts and Crafts movement from the 1870s to the 1930s. Challenging the long-standing assumption that the Arts and Crafts simply revolved around celebrated male designers like William Morris, this book instead offers a new social and cultural account of the movement, which simultaneously reveals the breadth of the imprint of women art workers upon the making of modern society. Thomas provides unprecedented insight into how women – working in fields such as woodwork, textiles, sculpture, painting, and metalwork – navigated new authoritative roles as ‘art workers’ by asserting expertise across a range of interconnected cultures so often considered in isolation: from the artistic to the professional, intellectual, entrepreneurial, and domestic. Through examination of newly discovered institutional archives and private papers, and a wide range of unstudied advertisements, letters, manuals, photographs, and calling cards, Women Art Workers elucidates the critical importance of the spaces around which women conceptualised alternative creative and professional lifestyles: guild halls, exhibitions, homes, studios, workshops, and the cityscape. Shattering the traditional periodisation of the movement as ‘Victorian’, this research reveals that the early twentieth century was a critical juncture at which women art workers became ever more confident in promoting their own vision of the Arts and Crafts. Shaped by their precarious gendered positions, they opened up the movement to a wider range of social backgrounds and interests, and redirected the movement’s radical potential into contemporary women-centred causes.
This book is about science in theatre and performance. It explores how theatre and performance engage with emerging scientific themes from artificial intelligence to genetics and climate change. The book covers a wide range of performance forms from the spectacle of the Paralympics Opening Ceremony to Broadway musicals, from experimental contemporary performance and opera to educational theatre, Somali poetic drama and grime videos. It features work by pioneering companies including Gob Squad, Headlong Theatre and Theatre of Debate as well as offering fresh analysis of global blockbusters such as Wicked and Urinetown. The book offers detailed description and analysis of theatre and performance practices as well as broader commentary on the politics of theatre as public engagement with science. It documents important examples of collaborative practice with extended discussion of the Theatre of Debate process developed by Y Touring theatre company, exploration of bilingual theatre-making in East London and an account of how grime MCs and dermatologists ended up making a film together in Birmingham. The interdisciplinary approach draws on contemporary research in theatre and performance studies in combination with key ideas from science studies. It shows how theatre can offer important perspectives on what the philosopher of science Isabelle Stengers has called ‘cosmopolitics’. The book argues that theatre can flatten knowledge hierarchies and hold together different ways of knowing.
The major part of this book project was funded by the European Union’s Horizon 2020 research and innovation programme under the Marie Sklodowska-Curie grant agreement No. 700913. This book is about two distinct but related professional cultures in late Soviet
Russia that were concerned with material objects: industrial design and
decorative art. The Russian avant-garde of the 1920s is broadly recognised to
have been Russia’s first truly original contribution to world culture. In
contrast, Soviet design of the post-war period is often dismissed as hackwork
and plagiarism that resulted in a shabby world of commodities. This book
identifies the second historical attempt at creating a powerful alternative to
capitalist commodities in the Cold War era. It offers a new perspective on the
history of Soviet material culture by focusing on the notion of the ‘comradely
object’ as an agent of progressive social relations that state-sponsored Soviet
design inherited from the avant-garde. It introduces a shared history of
domestic objects, handmade as well as machine-made, mass-produced as well as
unique, utilitarian as well as challenging the conventional notion of utility.
Situated at the intersection of intellectual history, social history and
material culture studies, this book elucidates the complexities and
contradictions of Soviet design that echoed international tendencies of the late
twentieth century. The book is addressed to design historians, art historians,
scholars of material culture, historians of Russia and the USSR, as well as
museum and gallery curators, artists and designers, and the broader public
interested in modern aesthetics, art and design, and/or the legacy of socialist
City 1840–1914; Claire
Langhamer, Women’s Leisure in England 1920–60, which includes a case study
Wolff and Savage, Culture in Manchester.indd 7
C u lt u r e i n M a n c h e s t e r
of Manchester; and Andrew Davies, Leisure, Gender and Poverty: WorkingClass Culture in Salford and Manchester, 1900–39.
18 Tony Bennett et al., Culture, Class, Distinction.
19 Mike Savage, Identities and Social Change in Britain since 1940.
20 In particular, the Institute for Cultural Practices, in the SchoolofArts,
Languages and Cultures.
15 Grindley, History, 3.
16 Marillier, Liverpool School, 10–12.
17 J. Willett, Art in a City (London, 1967), 29.
18 Grindley, History, 6.
19 Morris, ‘History’, 19.
20 H. J Tiffin, A History of the Liverpool Institute Schools (Liverpool, 1935), 23.
21 Morris, ‘History’, 18.
22 E. Roberts, ‘The Liverpool Academy as a Teaching Institution’, in E. Morris and
E. Roberts (eds), The Liverpool Academy and Other Exhibitions of Contemporary Art in
Liverpool, 1774–1867 (Liverpool, 1998), 21–2.
23 Liverpool Mechanics’ Institution SchoolofArts, Addresses, in
Biblical plays between Czech drama and English comedy in early modern
kontextu moderní vědy a dnešní potenciál jeho konceptů, 2016–18), financed from Grant No. GA16–20335S from the GAČR (the Czech Grant Agency). I would like to thank my colleagues for their help and support: David Drozd, Martin Hanoušek, M. A. Katritzky, Lukáš Kubina, Eva Stehlíková, and Christopher R. Wilson. Part of this chapter was presented at the Theater without Borders conference hosted by the Theaterwissenschaftliche Sammlung in Cologne in June 2017, and another at the Theater Without Borders conference hosted by the SchoolofArts at the University of Hull in June
only 500 people.12 At her benefit on 31 March 1865 between
100 and 200 had to be turned away and the Governor’s party had difficulty
making their way to their reserved seats at the front. In light of the small
number of tickets that could be sold, it is hard to see how it was worth
the effort and time involved in travelling to and from Sydney to Queensland
to appear for only eight nights in Brisbane and six in Ipswich (at the
recently rebuilt SchoolofArts with a capacity of 800).13 Without sufficient
audience numbers, long runs were not an option.
Given the colony
Real and imagined boundaries between metropole and empire in 1920s Marseilles
Yaël Simpson Fletcher
suggested that one could just as well be in the ghetto of Oran (in
Algeria). 75 Thus the 1922 Colonial
Exposition provided contemporaries with yet another instance of Marseilles’s supposed
alterity, and offers us more evidence of the elusive and imagined nature of boundaries
between metropole and empire.
I am grateful to the Camargo Foundation, the American Association of
University Women Educational Foundation and the Emory University Graduate SchoolofArts
and Sciences for