Nation and race in West End revue : 1910-1930 / David Linton.
Linton, David, 1967- author.
2021
ML1731.5 .L56 2021
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Title Nation and race in West End revue : 1910-1930 / David Linton.
Author Linton, David, 1967- author.
ISBN 9783030752095 (electronic bk.)
3030752097 (electronic bk.)
9783030752088
3030752089
DOI https://doi.org/10.1007/978-3-030-75209-5
Published Cham : Palgrave Macmillan, [2021]
Copyright ©2021
Language English
Description 1 online resource : illustrations
Other Standard Identifiers 10.1007/978-3-030-75209-5 doi
Call Number ML1731.5 .L56 2021
Dewey Decimal Classification 792.60942109041
Summary London West End revue constituted a particular response to mounting social, political, and cultural insecurities over Britains status and position at the beginning of the twentieth century. Insecurities regarding Britains colonial rule as exemplified in Ireland and elsewhere, were compounded by growing demands for social reform across the country the call for womens emancipation, the growth of the labour, and the trade union movements all created a climate of mounting disillusion. Revue correlated the immediacy of this uncertain world, through a fragmented vocabulary of performance placing satire, parody, social commentary, and critique at its core and found popularity in reflecting and responding to the variations of the new lived experiences. Multidisciplinary in its creation and realisation, revue incorporated dance, music, design, theatre, and film appropriating pre-modern theatre forms, techniques, and styles such as burlesque, music hall, pantomime, minstrelsy, and pierrot. Experimenting with narrative and expressions of speech, movement, design, and sound, revue displayed ambivalent representations that reflected social and cultural negotiations of previously essentialised identities in the modern world. Part of a wide and diverse cultural space at the beginning of the twentieth century it was acknowledged both by the intellectual avant-garde and the workers theatre movement not only as a reflexive action, but also as an evolving dynamic multidisciplinary performance model, which was highly influential across British culture. Revue displaced the romanticism of musical comedy by combining a satirical listless detachment with a defiant sophistication that articulated a fading British hegemonic sensibility, a cultural expression of a fragile and changing social and political order. David Linton is a performer/theatre practitioner and senior lecturer in Drama at Kingston University, London, UK. His research explores issues of resistance, adaptation, and exchange in theatre. This focuses on participatory arts practice, black British performance and pre-modern popular theatre forms, and their contemporary applications, specifically mask/minstrelsy, pantomime, burlesque/neo burlesque, cabaret, pierrot, hip hop theatre, and revue.
Bibliography, etc. Note Includes bibliographical references and index.
Access Note Access limited to authorized users.
Source of Description Description based on print version record.
Series Palgrave studies in British musical theatre.
Available in Other Form NATION AND RACE IN WEST END REVUE.
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Chapter 1: Reading London West End Revue
Chapter 2: Revue in the Modern World: Possibilities and Perils -West End Identities
Chapter 3: New Insecurities, New Form, New Identity- National Identity and Raciologies in Eightpence a Mile (1913)
Chapter 4: Degeneration/Regeneration The Remaking of Nation in Wartime West End Spectacular Revue
Chapter 5: Blackbirds in London: Black Internationalism and the Black Imaginary
Chapter 6: Class Distinction and National Identity in 1920s West End Intimate Revue.

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