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Titlebook: British Theatre and the Great War, 1914 - 1919; New Perspectives Andrew Maunder Book 2015 The Editor(s) (if applicable) and The Author(s) 2

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期刊全称British Theatre and the Great War, 1914 - 1919
期刊简称New Perspectives
影响因子2023Andrew Maunder
视频video
图书封面Titlebook: British Theatre and the Great War, 1914 - 1919; New Perspectives Andrew Maunder Book 2015 The Editor(s) (if applicable) and The Author(s) 2
影响因子.British Theatre and the Great War. examines how theatre in its various forms adapted itself to the new conditions of 1914-1918. Contributors discuss the roles played by the theatre industry. They draw on a range of source materials to show the different kinds of theatrical provision and performance cultures in operation not only in London but across parts of Britain and also in Australia and at the Front. As well as recovering lost works and highlighting new areas for investigation (regional theatre, prison camp theatre, troop entertainment, the threat from film, suburban theatre)  the book offers revisionist analysis of how the conflict and its challenges were represented on stage at the time and the controversies it provoked. The volume offers new models for exploring the topic in an accessible, jargon-free way, and it shows how theatrical entertainment of the time can be seen as the`missing link’ in the study of First World War writing..
Pindex Book 2015
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https://doi.org/10.1007/978-3-322-88490-9so-called ‘canary girls’, their skin dyed deep yellow for life from contact with TNT.. At the end of the war, Helen Fraser, a suffragist who became a government spokesperson for war-time recruitment of women, recorded that 1,250,000 women had directly replaced men in industry, 1,000,000 had been emp
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https://doi.org/10.1007/978-3-322-88490-9successful years during the war in spite of (and to some extent as a direct result of) financial and other constraints. The society responded to the war by presenting plays that showed how it affected non-combatants and putting on fund-raising productions for war charities. Most explicitly addressin
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https://doi.org/10.1007/978-3-642-92560-3ent on, in ideals and all the finer things’ and asserts that ‘while the men on leave came and went, [the Flapper] remained, helping one soldier after another to spend his money on the entertainment she chose’. She was ‘an excited, uneducated young person who couldn’t be bothered to listen to a play
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https://doi.org/10.1007/978-3-642-92560-3lear sense of the war as marking an end point for that mode of popular theatre. Dave Russell argues that the ‘variety theatre, as an institution, had clearly reached the limits of its expansion by 1914’, a judgement already expressed in different ways by the writers of the 1920s and 1930s who establ
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https://doi.org/10.1007/978-3-662-57992-3nt that a profit could be made from showing films on their own.. In a number of towns theatres and even skating rinks were transformed into cinemas. In April 1914, for example, the Sadler’s Wells Theatre in Clerkenwell, London, which had also served as a music hall, put on its final stage production
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