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If this were a novel, the tales of astounding wealth, sexual perversion, murder, munificence, rape, insanity, brutality, slavery, religious mania, selfishness, snobbery, charity, suicide, generosity, theft, madness, wickedness, failure and eccentricity which unfold in these pages would be too concentrated to allow for the willing suspension of disbelief. All these sins and virtues, and more, are displayed by the characters in this book, some exhibiting several of them simultaneously. Folly builders were not as we are. They never built what we now call follies. They built for beauty, utility, improvement; it is only we, struggling after them with our imperfect understanding, who dismiss their prodigious constructions as follies. Follies can be found around the world, but England is their spiritual home. Having written the definitive books on follies in Great Britain, Benelux and the USA, Headley & Meulenkamp have turned their attention to the folly builders themselves, people so blinded by fashion or driven by some nameless ideology that they expended great fortunes on making their point in brick, stone and flint. Most follies are simply misunderstood buildings, and this book studies the motives, characters, decisions and delusions of their builders. If there was madness in their building, fortunately there was no method in it.
• The book demonstrates how a vernacular British performance form emerged as a hybrid of forms from Afro-American and minstrel, as well as French mime and Italian commedia dell’arte roots. • Theatre history is an essential part of theatre and drama courses across the UK and would be recommended reading. • There is no comparable book which makes critical analysis of British pierrot troupes and concert parties in existence – the only ones that do exist on the specific topic are written as reminiscence and anecdote.
This book provides a new social history of British performance cultures in the early decades of the twentieth century, where performance across stage and screen was generated by dynamic and transformational industries. Exploring an era book-ended by wars and troubled by social unrest and political uncertainty, A Social History of British Performance Cultures 1900–1939 makes use of the popular material cultures produced by and for the industries – autobiographies, fan magazines and trade journals, as well as archival holdings, popular sketches, plays and performances. Maggie B. Gale looks at how the performance industries operated, circulated their products and self-regulated their professional activities, in a period where enfranchisement, democratization, technological development and legislation shaped the experience of citizenship. Through close examination of material evidence and a theoretical underpinning, this book shows how performance industries reflected and challenged this experience, and explored the ways in which we construct our ‘performance’ as participants in the public realm. Suited not only to scholars and students of British theatre and theatre history, but to general readers as well, A Social History of British Performance Cultures 1900–1939 offers an original intervention into the construction of British theatre and performance histories, offering new readings of the relationship between the material cultures of performance, the social, professional and civic contexts from which they arise, and on which they reflect.
People find me. When it's dark. 1863. An asylum. A woman locked in a windowless cell, with no memory as to who she is, or how she arrived there. When spiritualist medium Mrs Lyall requires a new assistant, this nameless woman seems the perfect candidate. But as the woman's past begins to reveal itself, so do new powers neither are prepared for. Alistair McDowall's haunting new play The Glow was the 2018 Pinter Commission, an award given annually by Lady Antonia Fraser to support a new commission at the Royal Court Theatre. This edition was published to coincide with the world premiere at London's Royal Court Theatre in January 2022.