The first collection of its kind, Chartist Drama makes available four plays written or performed by members of the Chartist movement of the 1840s. Emerging from the lively counter-culture of this protest campaign for democratic rights, these plays challenged cultural as well as political hierarchies by adapting such recognisable genres as melodrama, history plays, and tragedy for performance in radically new settings. A communal, public, and embodied art form, drama was linked for the Chartists with other kinds of political performance: the oratory of the mass platform, festival-like outdoor meetings, and the elaborate street theatre of protest marches. Plays that Chartists wrote or staged advanced new interpretations of British history and criticised aspects of the contemporary world. And Chartist drama intervened in fierce strategic arguments within the movement. Most notably, poet-activist John Watkins’s John Frost, which dramatises the gripping events of the Newport rising of 1839, in which twenty-two Chartists lost their lives, defends the rebellion and the Chartist recourse to violence as a means for the movement to achieve its aims. The volume’s appendices document over one hundred Chartist dramatic performances, staged by activists in local Chartist associations or at professional benefits at some of London’s largest working-class theatres. Gregory Vargo’s introduction and notes elucidate the previously unexplored world of Chartist dramatic culture, a context that promises to reshape what we know about early Victorian popular politics and theatre.
This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.
Based on unprecedented access to the UK Parliament, this book challenges how we understand and think about accountability between government and Parliament. Using data from a three-month research placement, over 45 interviews and more, this book focuses on the everyday practices of MPs and officials to reveal how parliamentarians perform their scrutiny roles. Some MPs adopt the role of a specialist, while others the role of a lone wolf; some are there to try to defend their party while others want to learn about policy. Among these different styles, chairs of committees have to try to reconcile these interpretations and either act as committee-orientated catalysts or attempt to impose order as leadership-orientated chieftains. All of this pushes and pulls scrutiny in lots of competing directions, and tells us that accountability depends on individual beliefs, everyday practices, and the negotiation of dilemmas. In this way, MPs and officials create a drama or spectacle of accountability and use their performance on the parliamentary stage to hold government to account. This book offers the most up-to-date and detailed research on committee practices in the House of Commons, following a range of reforms since 2010. The findings add new dimensions to how we study and understand accountability through the book’s path-breaking empirical focus, theoretical lens, and methodological tools. It is an ideal book for anyone interested in how Parliament works.
This collection of essays offers new perspectives that foster our understanding
of the crucial role the Bible played in medieval culture as well as in the wake
of the Reformation across Europe. The thirteen essays open up new horizons for
the study of biblical drama by putting special emphasis on periodisation, the
intersections of biblical narrative and performance, and the strategies employed
by playwrights to rework and adapt the biblical source material. Special
emphasis is placed on multitemporality, transnationality, and the modalities of
performance and form in relation to the uses of the Bible in medieval and early
modern drama. The three aspects are intertwined: particular modalities of
performance evolve, adapt and are re-created as they intersect with different
historical times and circumstances. These intersections pertain to aspects such
as dramatic traditions, confessional and religious rites, dogmas and debates,
conceptualisations of performance and form, and audience response – whenever the
Bible is evoked for performative purposes. The collection thus stresses the
co-presence of biblical and contemporary concerns in the periods under
discussion, conceiving of biblical drama as a central participant in the dynamic
struggle to both interpret and translate the Bible.
The contrasting fortunes of Northern Irish, Scottish and Welsh television drama in the 1990s
Broadcasting Minister Kim Howells has criticised TV producers in Wales for taking themselves too seriously, claiming it led to a lack of success at network level. The MP for Pontypridd, South Wales, said that Scottish programme makers had achieved more because they were willing to treat their nation and its people in a light-hearted way . . . In an interview for the Royal Television Society’s magazine Television, Dr Howells named the BBC Scotland drama series Monarch of the Glen as one of his favourites. (17 December 2001, http://news.bbc.co.uk/1/hi
This book discusses early modern English drama as a part of visual culture. It concerns the ideas about 'making and unmaking' that Shakespeare and his contemporaries may have known and formulated, and how these ideas relate to the author's own critical assumptions about early modern aesthetic experience. The study of drama as a part of visual culture offers the perfect context for an exploration of pre-modern aesthetic discourse. The book expounds the author's approach to plays as participants in a lively post-Reformation visual culture in the process of 're-formation'. It then focuses on the social meanings of patronage of the visual arts in a discussion of Paulina as patron of Hermione's image in The Winter's Tale. The discussion of The Winter's Tale pivots around the play's troubling investment in patriarchal notions of 'perfection'. The book also explores image-breaking in Robert Greene's Friar Bacon and Friar Bungay. This play presents an instance of onstage iconoclasm in the supernatural destruction of a demonic brazen head, a quasi-magical figure that had been depicted in English literature since at least the twelfth century. In focusing on the portrayal of invisibility in The Two Merry Milkmaids, the book explores early modern preoccupation with processes of visual construction in a play in which there is very little artisanal activity.
discussion, as it raises important questions about how scholarship traditionally has treated Elizabethan biblical drama. First, it problematises the tendency to see early English drama as either strictly ‘religious’ or ‘secular’.
For much of the twentieth century, criticism viewed biblical plays as typically ‘medieval’, amateur, provincial, didactic, and ideologically conservative (i.e. ‘Catholic’); whereas secular plays were viewed as ‘renaissance’, professional, London-based, commercial, and either advancing the status
Witchcraft in Elizabethan drama
Witchcraft is more frequently associated with the Jacobean theatre
than the Elizabethan, despite the fact that, outside the theatre,
witchcraft persecution in England seems to have peaked in the
1580s and 1590s. This focus on the later period is partly a matter
of modern perceptions and the canonical status of Macbeth, whose
witches have overshadowed those in earlier plays in many critical
discussions. However, it is also the case that witchcraft in Elizabethan
drama is curiously absent, even in those plays in which it is
This book discusses early modern
English drama as a part of visual culture. But what is visual culture,
and why use this phrase in place of the ‘fine arts’ or the
‘visual arts’? In part, this choice is motivated by
my concern with exploring the plays in their historical contexts.
Shakespeare and his contemporaries would not have recognised the phrase
‘fine arts’. Nor would
This book situates witchcraft drama within its cultural and intellectual context,
highlighting the centrality of scepticism and belief in witchcraft to the genre.
It is argued that these categories are most fruitfully understood not as static
and mutually exclusive positions within the debate around witchcraft, but as
rhetorical tools used within it. In drama, too, scepticism and belief are vital
issues. The psychology of the witch character is characterised by a combination
of impious scepticism towards God and credulous belief in the tricks of the
witch’s master, the devil. Plays which present plausible depictions of witches
typically use scepticism as a support: the witch’s power is subject to important
limitations which make it easier to believe. Plays that take witchcraft less
seriously present witches with unrestrained power, an excess of belief which
ultimately induces scepticism. But scepticism towards witchcraft can become a
veneer of rationality concealing other beliefs that pass without sceptical
examination. The theatrical representation of witchcraft powerfully demonstrates
its uncertain status as a historical and intellectual phenomenon; belief and
scepticism in witchcraft drama are always found together, in creative tension
with one another.