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British Theatre in the Great War deals with a theatrical phase customarily dismissed by those charting twentieth-century developments. What becomes clear is that assessment by unsuitable literary criteria has masked the importance of the war years in British theatrical history. In avoiding a texts bias, the book reveals a period of unsurpassed prosperity in which the stage's substantial contribution to the war effort is only one notable feature. That it also saw the commercial theater's absorption of Continental avant-gardeism by way of revue, the last great epoch of music hall, the rise of the Old Vic with a project in opera and Shakespeare, and the unprecedented popularity of opera everywhere--this was surely the most fruitful period of Thomas Beecham's theatrical career--is compelling argument for revaluation. In his reassessment of this period, Dr. Williams extensively examines scripts and press coverage, providing a comprehensive overview from popular pantomime to the specialist work of the private stage as well as discussion of such issues as working conditions and censorship.
Bibliographies of English language and literature, lists of new members of the association, and lists of publications of the association are included.
Bibliographies of English language and literature, lists of new members of the association, and lists of publications of the association are included.
Focuses on the variety and independence of pantomime in the provinces, especially Nottingham, Birmingham, and Manchester. Explores official and local censorship and the relationships between local theaters, managers, authors and audiences.
In recent years the social sciences and the humanities have drawn closer to each other in thought and method. This rapprochement has led to new perceptions of human behavior by sociologists, as well as new methodological orientations. Sociologist Joseph R. Gusfield draws upon drama and fiction to show how human action is shaped by the formal dimensions of performance. Gusfield first defines the concept of behavior as artistic performance. He then analyzes routine and classic social research reports as literary performances in qualitative and quantitative terms. Next he moves to social movements and public actions, demonstrating how objects and events are products of the interpretation and reflection of individuals. He draws upon literary and artistic conventions to deal with issues of representation and meaning. In the first and last chapters, Gusfield provides a conceptual summary examining the relation between sociology as science and art, arguing that sociological methods are neither science nor art, but partake of both. Following the philosopher Paul Ricouer, Gusfield shows how human behavior can be read as a text, always telling the participant or observer "something about something." Performing Action will be of interest to sociologists, psychologists, and students of aesthetics and critical theory.