清洗
发表于 2025-3-23 10:10:15
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JECT
发表于 2025-3-23 15:50:52
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Guaff豪情痛饮
发表于 2025-3-23 20:06:30
Traude Bernert,Berta Karlik,Karl Lintner a shared ideology, or whether social ‘fissures’ within a socially divided auditorium undermine societal cohesion. Analysis of the social make-up of typical first-night audience behaviour, and issues such as the expansion of the lower middle classes and the theatre-going habits of young men and wome
放肆的你
发表于 2025-3-24 00:20:53
M. Lederer,H. Michl,K. Schlögl,A. Siegelained by the management. He investigates the premise that, by regulating the lives of female performers, Victorian entrepreneur Richard D’Oyly Carte created a company image which concurred with, and reinforced, the moral preoccupations of the ‘respectable’ middle classes. The chapter explores the no
不溶解
发表于 2025-3-24 04:18:46
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安装
发表于 2025-3-24 09:57:01
https://doi.org/10.1007/978-3-642-49868-8was tainted in the public imagination with immorality, and suffered, in terms of public perception of its propriety, from the rather indefinable social status of its inhabitants. The attempts of some theatre practitioners to acquire and demonstrate the trappings of respectability (or to display what
不整齐
发表于 2025-3-24 14:29:53
https://doi.org/10.1007/978-3-642-50720-5how notions of class and ideology can be used to analyse the workings of a theatrical organisation, the D’Oyly Carte Opera Company, as well as its key cultural product, the Gilbert and Sullivan operas.
新奇
发表于 2025-3-24 18:30:09
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等级的上升
发表于 2025-3-24 21:03:45
,The Gilbert and Sullivan Operas and ‘Middle-Class’ Ideals,espectable, middle-class Victorian society. Examples from the opera libretti, from the lives of Gilbert, Sullivan, their manager, Richard D’Oyly Carte, and from the stars of the Savoy Theatre are used throughout the chapter to illustrate and comment on the middle-class ideology which underpinned their work.
ALIBI
发表于 2025-3-25 00:30:40
,Savoy Audiences 1881–1909,ypical first-night audience behaviour, and issues such as the expansion of the lower middle classes and the theatre-going habits of young men and women, are used to create as full a picture as possible of a ‘typical’ Gilbert and Sullivan audience in late-Victorian London.